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The Celesta Or Celeste Is a Struck Idiophone Operated by a Keyboard
The celesta or celeste is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-oc- tave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four- or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small “table-top” design. The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, celeste, meaning “heavenly” in French. The celesta is often used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections; as well, the celesta is rarely given standalone solos. The celesta is a transposing instrument; it sounds one octave higher than the written pitch. Its (four-octave) sounding range is generally considered to be C4 to C8. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later mod- els. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. -
A History of Sampling
Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A history of sampling HUGH DAVIES Organised Sound / Volume 1 / Issue 01 / April 1996, pp 3 - 11 DOI: null, Published online: 08 September 2000 Link to this article: http://journals.cambridge.org/abstract_S135577189600012X How to cite this article: HUGH DAVIES (1996). A history of sampling. Organised Sound, 1, pp 3-11 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 128.59.222.12 on 11 May 2014 TUTORIAL ARTICLE A history of sampling HUGH DAVIES 25 Albert Road, London N4 3RR Since the mid-1980s commercial digital samplers have At the end of the 1980s other digital methods of become widespread. The idea of musical instruments which solving some of the problems inherent in high quality have no sounds of their own is, however, much older, not PCM began to be explored. In ®gure 1(b) pulse-ampli- just in the form of analogue samplers like the Mellotron, tude is shown as a vertical measurement in which but in ancient myths and legends from China and elsewhere. information is encoded as the relative height of each This history of both digital and analogue samplers relates successive regular pulse. The remaining possibilities the latter to the early musique concreÁte of Pierre Schaeffer and others, and also describes a variety of one-off systems are horizontal, such as a string of coded numerical devised by composers and performers. values for PCM, and the relative widths (lengths) of otherwise identical pulses and their density (the spac- ing between them). -
Optical Turntable As an Interface for Musical Performance
Optical Turntable as an Interface for Musical Performance Nikita Pashenkov A.B. Architecture & Urban Planning Princeton University, June 1998 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2002 @ Massachusetts Institute of Technology All rights reserved MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2002 LIBRARIES ROTCH I|I Author: Nikita Pashenkov Program in Media Arts and Sciences May 24, 2002 Certified by: John Maeda Associate Professor of Design and Computation Thesis Supervisor Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduate Studies Program | w | in Media Arts and Sciences Optical Turntable as an Interface for Musical Performance Nikita Pashenkov Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on May 24, 2002, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual informa- tion from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain. -
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern. -
Resenv Research Update 4/16 Joe Paradiso an Introduction to Prog Rock Prof
ResEnv Research Update 4/16 Joe Paradiso An Introduction to Prog Rock Prof. J. Paradiso – MIT Media Lab Session 1: Intro - Things your dad should have told you about Prog Session 2; Canterbury Session 3: Rock in Opposition Session 4: Zeuhl Session 5: Space Rock and Neopsychedelia Session 6: French & Quebecois Prog Session 7: Rock Progressivo Italiano Session 8: Germany, Berlin, and Krautrock (perhaps some Scandavania too) Session 9: Japanese Prog Lecture 1 – Introduction, Roots of Prog, Classic Prog ResEnv Research Update 4/16 Joe Paradiso 1/10/2018 IAP 2018 Books on Prog…. And books on many bands – e.g., Soft Machine, Hawkwind… 4/08 JAP Resources ‘Romantic Warriors’ DVD set by Adele Schmidt & José Zegarra Holder In MIT’s Music Library Krautrock documentary in progress – Italian prog and perhaps space rock, etc. coming…. 4 4/08 JAP Magazines In Lewis Music Library! 5 4/08 JAP Some Websites & Resources http://www.progarchives.com http://www.proggnosis.com http://www.expose.org Chris Cutler’s Podcasts: http://ccutler.co.uk/ccpodcast.htm Many Facebook Groups: Avant Progressive, Canterbury, etc., etc. 7 4/08 JAP Vendors… http://synphonicmusic.com/ https://www.lasercd.com/ http://www.waysidemusic.com 7 More Vendors (UK) http://home.btconnect.com/ultimathule/index.html https://burningshed.com/ http://www.rermegacorp.com/ http://www.progrock.co.uk/ Prog Festivals! https://burgherzberg-festival.de/ http://rockinopposition.rocktime.org/ https://www.progday.net/ https://proglodytes.com/2017/12/07/exhaustive-prog-festival-list-2018/ http://www.gaudela.net/gar/ 4/08 JAP A Historical Perspective 10 ~14K Albums – most on CD! 4/08 JAP Music <> Exploration - I seek out music everywhere! 12 4/08 JAP • WMFO, WMBR, WZBC Radio Shows • 1974 – 1994 • Still sporadically – e.g. -
Mellotron M4000D Soundcard 04, Page 1 of 2
Mellotron M4000D Soundcard 04, page 1 of 2 Here is the sound list for the third Digital Mellotron expansion card, Soundcard 04. Soundcard 01 is the internal card, Soundcard 02 is the first expansion card, Soundcard 03 is the second expansion card Soundcard 04 contains a total of 128 Orchestron, Optigan and Chilton Talentmaker sounds. Orchestron sounds (8 sounds, sampled from instrument): Cello Vocal Choir Flute French Horn Hammond B3 Pipe Organ Saxophone Violins Optigan sounds (61 sounds, sampled from instrument): Scales (21 sounds): B3 number 1 B3 number 2 B3 number 3 B3 number 4 B3 number 5 B3 + Leslie #1 B3 + Leslie #2 B3 + Leslie #3 B3 + Leslie #4 B3 + Leslie #5 Combo Organ #1 Combo Organ #2 Combo Organ #3 Combo Organ #4 Combo Organ #5 Oboe Harmonium Pipe Organ Saxophone Marimba Vocal Choir Mellotron M4000D Soundcard 04, page 2 of 2 Optigan sounds (continued): Chord sets (40 sounds): LoFif from instrument HiFi from mastertapes (4 missing) A01 Banjo Sing-Along A01 Banjo Sing-Along A02 Big Band Beat A02 Big Band Beat A03 Big Organ & Drums A04 Big Top Marching Band A04 Big Top Marching Band A05 Bluegrass Banjo A05 Bluegrass Banjo A06 Bossa Nova Style A06 Bossa Nova Style A07 Cathedral Organ A08 Cha Cha Cha! A08 Cha Cha Cha! A09 Champagne Music A09 Champagne Music A10 Classic Guitar in 4/4 A10 Classic Guitar in 4/4 A11 Country Sunshine A11 Country Sunshine A12 Country Walz A12 Country Walz B01 Dixieland Strut B01 Dixieland Strut B02 Down Home B02 Down Home B03 Easy Does It With Vibes B03 Easy Does It With Vibes B04 Folk & Other Moods Guitar -
PERFORMER ROLE CODES Role Code
PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer -
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. -
DB-1981-05.Pdf
INTRODUCING THE HOTTEST NEW INTERNATIONAL RECORDING STAR. r r r 2' t I. IT .. ,..,,, 32- Channel Xó Digital Recorder It wont be long before the charts are as big a sound breakthrough as stereo will allow for extremely precise and filled with tracks recorded on the new was to the industry Digital Audio Disc flexible electronic editing, and an Mitsubishi X800 32- channel digital players for the home are already a attractive enhancement of the razor audio recorders. And why not. The reality in Japan and are going to be blade editing capability of our X80 Mitsubishi X800 doesn't just record available here nex: year..The con- Series recorders. an artist's sound -it captures it. Every sumers and recording artists will be We have a full line of digital subtle lick. Every gentle nuance. It demanding digital sound. Will your products for you now and we intend records it in a way that makes the studio be ready? to keep exploring this new dimension listener feel like he's right in the booth in sound to meet your changing needs. with the players. WHY INSIST ON MITSUBISHI? When you record on the Mitsubishi The X800 digital audio recordings Because we pioneered the digital X800 and master on the X80 Series are not subject to the limitations of recording effort back in the early recorders. your final product will be a analog recordings. There's no tape seventies. Since then we have been whole new experience in sound. hiss. No print- through. No dropout refining and perfecting our equipment errors. -
Coalition Threatens Sewer
anmft. waiwfay. oct. » , im f - Houtewffe^s tweet potato product ft no pie in the sky MANCHF.STFR L S WORLD \ started reqiMMing' them," she Mrs. RobhuiM began to look int» ment were then established m a tV w A m o a tM J Urn sweet potatoes are shipfled Mrs. Robinson said the pies Had explained, admitting the ingre the idea o f cdmmercially prodbts MildiHghuildiHg that formerly Roused a whole to Cher-Dac. where tHtyare already been picked up b y m a jo r OPECstiakMfp Lgffjf PiNfelMitfir dients in her pies were “ pretty ingherpies. Although she had done Dairy l^wen. ITiecdmpaigropened grocery distributors, and the com 1 W IS *. iMtlm. — What gtarred basic — hot it was die prnmnlions some interior design and public skinned and processed into pie • tlw dupam of many a its doors May 15 and the i m Yam lining. Mrs. Robinson said about 27 pany recently signed a government OfiMet o f them that made them difrerent . ” relations work, she was “ basically E Sam pfes were s h ip j^ in Jbne. teaws qiigfflofw resigfw hoop K » iMtMMiafeier has bMome mriity for pies were protkiced from each contract allowing It to market the She said she had never really a housewife.” f 'The product logo — Yam E Sam, ‘IMsaM >Bi1i0 r 8 RoWnson Sl^poond box of yams. pies on 90 military bases thought about pursatng mass pro Suddenly. Mrs.'Robinson found a caricature of a sweet potato p a g v S IS WiW- RoMiisofi is fouMdei* and . M il in its infancy, the company nationwide. -
IK Multimedia Sampletron]
p 56 Test[ IK Multimedia SampleTron] CD Track 04 Software-Instrument für Mac und PC IK Multimedia SampleTron Im Moment steht die Soundästhetik der späten Sechziger- und frühen Siebzigerjahre bei vielen Produzenten und aktuellen Bands wie z. B. MGMT wieder hoch im Kurs. Daher kommt eine Software wie SampleTron genau zur rechten Zeit. SampleTron ist ein virtuelles Instrument Unter den 17 Instrumenten, die in zehnjäh- hören z. B. auf Bowies „Space Oddity”) und von IK Multimedia, das mit Samples legen- riger Arbeit gesampelt wurden, sind auch des Roland-Vocoders VP-330. därer Vintage-Keyboards und Sampler-Vor- zwei ziemlich exotische Rhythmusmaschinen SampleTron basiert auf der bewährten gänger wie dem Mellotron und seinen Ver- (Mellotron Powerhouse und Chamberlin SampleTank-2-Engine, die viele Features zur wandten ausgestattet ist. IK nennt diese Rhythmate), die mit Tapeloops arbeiten. Mit Nachbearbeitung bietet, und steht stand- Instrumentenfamilie „Tron-Instruments”. dem Digital Keyboard von 360 Systems ist alone sowie als Plug-in für die VST-, AU- Ein Großteil dieser meist sehr anfälligen und außerdem ein frühes digitales Instrument da- und RTAS-Schnittstellen für PC (XP / Vista) wartungsintensiven Dinosaurier arbeitet wie bei, das 8-Bit-Samples bietet. Einige Instru- und Mac (OS X, Universal Binary) zur Ver- das Mellotron mit Tonbändern, welche die mente arbeiten mit geloopten Sounds, die auf fügung. Das 56-fach polyfone Plug-in ist 16- Sounds auf Tastendruck abspielen. Dazu ge- Flexidics abgespielt werden. Zu dieser Gruppe fach multitimbral, und die Sounds lassen hören außer den Mellotron-Modellen M400, gehört das Optigan von Mattel (siehe Love sich auf ebenso viele Stereoausgänge routen. MK5 und MKII auch das Vako Orchestron, The Machines, S&R 04/2008), der Chilton Layer und Split-Operationen werden durch das Novatron (das dem Mellotron M400 Talent Maker und das Vako Orchestron. -
Kraftwerk's Influence on Music Technology & German Cultural
1 Through the Looking Glass: Kraftwerk’s Influence on Music Technology & German Cultural Identity Scott Shannon University of Houston, Texas, USA [email protected] Kyle J. Messick Ivy Tech Community College, Indiana, USA [email protected] https://orcid.org/0000-0002-0452-0922 2 Through the Looking Glass: Kraftwerk’s Influence on Music Technology & German Cultural Identity Although the band Kraftwerk have been extensively noted for their pioneering musical style, what has been given less attention is their broader cultural impact, how they served as a source for German identity in a time of crisis, and the conditions under which their music was formed and changed over time. This article examines their influence through the sense of cultural identity Kraftwerk provided for Germanic peoples post-World War II, their fundamental influence on future musical acts that would incorporate electronics into their music, their innovation in their creation of new musical instruments/technologies, and the application of those instruments in novel performance and recording settings. Keywords: Kraftwerk, krautrock, music technology, Germanic culture, identity The Emergence of Kraftwerk & Krautrock During the 1960’s and 1970’s, popular music as a whole experienced an explosion of growth and diversification. With the developments of the progressive rock and industrial scenes in the UK, the jazz fusion scene in the US, and the krautrock/“Berlin School” scenes in Germany, music was undergoing a complete cosmopolitan renaissance heavily rooted in sonic experimentation and pushing musical boundaries in a way that had never been witnessed before. “Krautrock” was the colloquial term used to describe the experimental rock that developed in West Germany in the late 1960s that combined elements of psychedelic rock, electronic music, and a broad range of avant-garde influences.