Atjaunināt sīkdatņu piekrišanu

E-grāmata: Electronic Music Machines: The New Musical Instruments

  • Formāts: PDF+DRM
  • Izdošanas datums: 23-Apr-2019
  • Izdevniecība: ISTE Ltd and John Wiley & Sons Inc
  • Valoda: eng
  • ISBN-13: 9781119618119
Citas grāmatas par šo tēmu:
  • Formāts - PDF+DRM
  • Cena: 165,30 €*
  • * ši ir gala cena, t.i., netiek piemērotas nekādas papildus atlaides
  • Ielikt grozā
  • Pievienot vēlmju sarakstam
  • Šī e-grāmata paredzēta tikai personīgai lietošanai. E-grāmatas nav iespējams atgriezt un nauda par iegādātajām e-grāmatām netiek atmaksāta.
  • Bibliotēkām
Electronic Music Machines: The New Musical InstrumentsPalielināt
  • Formāts: PDF+DRM
  • Izdošanas datums: 23-Apr-2019
  • Izdevniecība: ISTE Ltd and John Wiley & Sons Inc
  • Valoda: eng
  • ISBN-13: 9781119618119
Citas grāmatas par šo tēmu:

DRM restrictions

  • Kopēšana (kopēt/ievietot):

    nav atļauts

  • Drukāšana:

    nav atļauts

  • Lietošana:

    Digitālo tiesību pārvaldība (Digital Rights Management (DRM))
    Izdevējs ir piegādājis šo grāmatu šifrētā veidā, kas nozīmē, ka jums ir jāinstalē bezmaksas programmatūra, lai to atbloķētu un lasītu. Lai lasītu šo e-grāmatu, jums ir jāizveido Adobe ID. Vairāk informācijas šeit. E-grāmatu var lasīt un lejupielādēt līdz 6 ierīcēm (vienam lietotājam ar vienu un to pašu Adobe ID).

    Nepieciešamā programmatūra
    Lai lasītu šo e-grāmatu mobilajā ierīcē (tālrunī vai planšetdatorā), jums būs jāinstalē šī bezmaksas lietotne: PocketBook Reader (iOS / Android)

    Lai lejupielādētu un lasītu šo e-grāmatu datorā vai Mac datorā, jums ir nepieciešamid Adobe Digital Editions (šī ir bezmaksas lietotne, kas īpaši izstrādāta e-grāmatām. Tā nav tas pats, kas Adobe Reader, kas, iespējams, jau ir jūsu datorā.)

    Jūs nevarat lasīt šo e-grāmatu, izmantojot Amazon Kindle.

Since 1960, with the advent of musical electronics, composers and musicians have been using ever more sophisticated machines to create sonic material that presents innovation, color and new styles: electro-acoustic, electro, house, techno, etc. music. The music of Pierre Henry, Kraftwerk, Pink Floyd, Daft Punk and many others has introduced new sounds, improbable rhythms and a unique approach to composition and notation.

Electronic machines have become essential: they have built and influenced the music of the most recent decades and set the trend for future productions.

This book explores the theory and practice related to the different machines which constitute the universe of musical electronics, omitting synthesizers which are treated in other works. Sequencers, drum machines, samplers, groove machines and vocoders from 1960 to today are studied in their historical, physical and theoretical context. More detailed approaches to the Elektron Octatrack sequencer-sampler and the Korg Electribe 2 groove machine are also included.

 

Foreword xi
Preface xiii
Introduction xvii
Chapter 1 Electronic Music
1(14)
1.1 Musique concrete
1(2)
1.2 The beginnings of electronic music
3(1)
1.3 Eleclroacouslic music
3(1)
1.4 Acousmatic music
4(2)
1.5 And much, much more
6(1)
1.6 Maturity
6(1)
1.7 Different paths to music
6(4)
1.8 Today and tomorrow
10(1)
1.9 Electronic music and counlcr-culluralism
11(3)
1.10 Final remarks
14(1)
Chapter 2 When Revolution Holds Us in Its Grasp
15(26)
2.1 From analog to digital
15(8)
2.2 Popular music and electronic music
23(14)
2.2.1 New wave
25(1)
2.2.2.1 House music
26(2)
2.2.3 Techno
28(1)
2.2.4 New beat
29(1)
2.2.5 Acid house
30(2)
2.2.6 Acid jazz
32(1)
2.2.7 Ambient
33(2)
2.2.8 Hip-hop and rap
35(1)
2.2.9 Trance
35(1)
2.2.10 Electro or contemporary electro
36(1)
2.3 Final remarks
37(4)
Chapter 3 The MIDI Standard
41(34)
3.1 History
41(1)
3.2 How MIDI works
42(7)
3.2.1 The hardware level
42(3)
3.2.2 The software level
45(4)
3.3 Examples of MIDI transmission
49(2)
3.3.1 Note-on/note-off messages
49(1)
3.3.2 Program change message
50(1)
3.4 The MIDI implementation chart
51(1)
3.5 The General MIDI standard
52(2)
3.5.1 Specifications
52(2)
3.6 The General MIDI 2 standard
54(1)
3.7 The GS format
54(1)
3.8 The XG format
55(1)
3.9 The structure of a MIDI file
56(11)
3.9.1 Header chunks
56(1)
3.9.2 Track chunks
57(7)
3.9.3 Example of a MIDI file
64(3)
3.10 MIDI devices
67(6)
3.10.1 MIDI boxes, mergers, and patchers
67(2)
3.10.2 Musical instruments
69(1)
3.10.3 Studio hardware
70(1)
3.10.4 MIDI to computer
71(2)
3.11 Conclusion
73(2)
Chapter 4 Sequencers
75(18)
4.1 Mechanical and electrical machines
75(8)
4.1.1 Music boxes
76(1)
4.1.2 Mechanical pianos
77(3)
4.1.3 Barrel organs
80(2)
4.1.4 Fairground organs
82(1)
4.2 Analog sequencers
83(3)
4.3 Digital sequencers
86(2)
4.4 Software sequencers
88(3)
4.5 Final remarks
91(2)
Chapter 5 Drum Machines
93(24)
5.1 On the subject of electromechanical rhythm
93(4)
5.2 Drum machines with presets
97(6)
5.3 Programmable drum machines
103(3)
5.4 The MIDI age
106(1)
5.5 Drum machines with sampled sounds
107(4)
5.6 Rhythms, software, and computers
111(4)
5.7 Final remarks
115(2)
Chapter 6 Samplers
117(30)
6.1 History of samplers
117(22)
6.1.1 Basic principles
118(1)
6.1.2 The arrival of the Mellotron
119(4)
6.1.3 Samplers
123(10)
6.1.4 Software samplers
133(6)
6.2 History of musical styles
139(3)
6.3 Architecture and principles
142(2)
6.4 Final remarks
144(3)
Chapter 7 Groove Machines
147(32)
7.1 Structure
147(1)
7.2 Famous groove machines
148(12)
7.2.1 E-mu SP12 (1985)
149(1)
7.2.2 AKAIMPC-60(1988)
150(1)
7.2.3 Roland MC-303 (1996)
151(1)
7.2.4 AKAI MPC 2000XL (1999)
152(1)
7.2.5 Roland MC-909 (2003)
153(2)
7.2.6 Elektron Octalrack DPS 1 (2011)
155(1)
7.2.7 Korg Electribe 2 (2014) and Korg Electribe Sampler (2015)
156(2)
7.2.8 Novation Circuit (2015)
158(1)
7.2.9 Teenage Electronics Pocket Operator PO-32 (2017)
159(1)
7.3 Software groove machines
160(12)
7.3.1 Image Line Groove Machine
162(1)
7.3.2 Propellerhead Reason
163(6)
7.3.3 Ableton Live
169(3)
7.4 Controllers and software
172(4)
7.4.1 Native Instruments Maschine (2009)
172(2)
7.4.2 Roland MPC Studio Black (2017)
174(2)
7.5 iGroove machines
176(1)
7.6 Final remarks
176(3)
Chapter 8 Vocoders
179(22)
8.1 History
179(4)
8.2 Working principle of the vocoder
183(1)
8.3 Machines and equipment
184(11)
8.3.1 EMS Vocoder 2000
184(1)
8.3.2 EMS Vocoder 5000
185(1)
8.3.3 EMS Vocoder 3000
185(1)
8.3.4 Roland VP-330
186(1)
8.3.5 Korg VC-10
187(1)
8.3.6 Moog Vocoder
188(1)
8.3.7 Roland SVC-350
188(1)
8.3.8 Electrix Warp Factory
189(1)
8.3.9 Korg MS2000
189(1)
8.3.10 Microkorg
190(1)
8.3.11 Roland VP-550
191(1)
8.3.12 The Music and More VF11
192(1)
8.3.13 Novation Mininova
192(1)
8.3.14 Digitech Talker
193(1)
8.3.15 Electro-Harmonix V256
194(1)
8.3.16 A few more unusual examples
194(1)
8.4 Software vocoders
195(1)
8.5 One step further
196(3)
8.5.1 Talkbox
196(2)
8.5.2 Auto-Tune
198(1)
8.6 Final remarks
199(2)
Chapter 9 Octatrack: Maintenance, Repairs, and Tips
201(28)
9.1 Updating the software
201(5)
9.1.1 Updating the operating system
203(3)
9.2 Testing the OT
206(5)
9.2.1 Testing the push buttons
207(3)
9.2.2 Testing the dials
210(1)
9.2.3 Testing the x-fader
211(1)
9.2.4 Analysis and results
211(1)
9.3 Hardware repairs
211(17)
9.3.1 Opening up the OT
212(3)
9.3.2 Replacing the push buttons
215(5)
9.3.3 Replacing the battery
220(2)
9.3.4 Replacing the x-fader
222(3)
9.3.5 Replacing an incremental encoder
225(3)
9.4 Final remarks
228(1)
Chapter 10 Octatrack: MIDI Sequences and Arpeggios
229(34)
10.1 Setup and configuration
229(5)
10.1.1 Connections and software settings
229(2)
10.1.2 Creating a new project
231(1)
10.1.3 Creating a THRU device (machine)
231(1)
10.1.4 Setting up the MIDI connection between the OT and the instrument
232(2)
10.2 Creating a MIDI sequence using triggers
234(6)
10.2.1 MIDI track
234(1)
10.2.2 Creating a musical sequence
235(3)
10.2.3 A multi-page sequence
238(2)
10.3 Creating a sequence with the arpeggiator
240(11)
10.3.1 Presentation of the arpeggiator
241(1)
10.3.2 A simple arpeggio
242(2)
10.3.3 Defining an arpeggio graphically
244(2)
10.3.4 More complex arpeggios
246(1)
10.3.5 Triggers in chromatic mode
247(1)
10.3.6 Saving a MIDI sequence from an external instrument
248(3)
10.4 Creating a MIDI sequence with a drum machine
251(4)
10.5 MIDI sequences, rhythms, and CC codes
255(8)
Chapter 11 Korg Electribe: Maintenance and Hardware Tips
263(18)
11.1 Overview
263(4)
11.1.1 Electribe 2
264(2)
11.1.2 Electribe Sampler
266(1)
11.2 MIDI cables
267(2)
11.2.1 Male 3.5 mm jack to female 5-pin DIN adapter
267(1)
11.2.2 Male 3.5 mm jack to male 5-pin DIN cable
268(1)
11.3 Updating the operating system
269(3)
11.4 Electribe 2 to Electribe Sampler
272(8)
11.4.1 Migrating to the Electribe Sampler
274(2)
11.4.2 Reverting to the Electribe 2
276(1)
11.4.3 Downgrading the Electribe
277(1)
11.4.4 Editing the operating system files
277(3)
11.4.5 Major operating system versions of the Electribe 2
280(1)
11.5 Conclusion
280(1)
Chapter 12 Korg Electribe: Software Tips
281(28)
12.1 Menu tree of the Electribe 2 and the Electribe Sampler
281(14)
12.2 Shortcuts
295(1)
12.3 Using the audio input
295(10)
12.3.1 Through the Electribe
296(1)
12.3.2 Saving a carrier pattern
297(3)
12.3.3 Filtering and applying effects
300(2)
12.3.4 Sending commands to the synthesizer using triggers
302(2)
12.3.5 Sequencer, synthesizer, filters, and effects
304(1)
12.4 Extra tips
305(1)
12.4.1 Octave switching
305(1)
12.4.2 Viewing the current settings of a PART
305(1)
12.4.3 Controlling two different synthesizers from the MIDI out
305(1)
12.5 Final remarks
306(1)
Conclusion
307(2)
Appendices
309(32)
Appendix 1 CV/Gate
311(8)
Appendix 2 Digital Inputs/Outputs
319(10)
Appendix 3 The General MIDI (GM) Standard
329(4)
Appendix 4 Plugins
333(2)
Appendix 5 Control and MIDI Dump Software
335(6)
Bibliography 341(8)
Index 349
Jean-Michel Réveillac has been a specialist in sound processing for more than 30 years. He is Associate Professor at the University of Burgundy in France and a consultant for major companies related to the media, and manages in parallel a studio for restoration, mixing and transcoding sound.

 
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
Permanent link: https://www.kriso.lv/db/97811196181192e.html
Keywords: