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Mar 03, 2020  Withered is an ambient modular synth patch, mostly generative - only adjusting volumes and muting occasionally to keep the flow. 0:00 Mutable Instruments Plaits triggered by Pamela's New Workout.

1. Generative Drums Using Input From Key Board Download
2. Generative Drums Using Input From Key Board Games
3. Generative Drums Using Input From Keyboard To Windows 7

• Generative Tools: A New Language for CoDesigning The landscape of generative tools is revealing a new language whose components are both visual and verbal. These components can be combined in an infinite variety of meaningful ways, much like the linguistic elements we use in speaking and comprehending (Chomsky, 1965). The new language is, however.
• Oct 06, 2019  at least one person asking ‘how to play EZdrummer with computer keyboard?’, sadly without anyone answering it. Just typing on some keys of the pc keyboard in hope they’re pre-attached to the drums and hi-hats won’t do the trick. Went to settings/midi-input, but the pc keyboard is not a midi input and consequently wasn’t listed.
• I just got Music Creator 5 and I am having trouble trying to figure out how to play the Studio Instruments Drum Kit on my computer keyboard. I can add loops to my projects and I can program the drums in the piano roll but still trying to figure out how to actually play the drums (other than th.

Drum tuning is the process of adjusting the frequency or pitch of a drum. Although most drums are unpitched instruments, they still require tuning in order to remove unwanted overtones and produce the sound that the drummer prefers. Some drums such as timpani and rototoms are tuned to a definite pitch. Drums are tuned by tightening or loosening the tension rods or ropes, which control the tension on the drumhead. Additional techniques such as muffling may also be used.

Styles[edit]

Snare drum and bass drum[edit]

Snare drum[edit]

• The thin, sensitive bottom (resonant) head is generally tuned much more tightly than the batter head.
• The resonant head on a snare drum is often tuned up toward 398 Hz, depending on the overall tuning, but going much higher risks damaging the head and/or the drum.
• Treatment or muffling may be applied to any type of drum head to control overtones.

Bass or kick drum[edit]

• The resonant (front) head is usually looser than the batter head and is mainly responsible for the fundamental, audible tone of the drum.
• The resonant head can have a small (approximately 6') offset hole to allow for air pressure to escape and to support the insertion of a microphone.
• Some drummers muffle bass drum tone by inserting a towel, blanket, or similar material.

Tom toms[edit]

Tuning toms is the act of ensuring that:

• The tensions on the individual batter and resonant heads on each drum are consistent and deliver a clear tone;
• The tensions on the heads deliver the desired fundamental pitch when struck;
• The relationships between the batter head and resonant head provide a sound character suitable for the intended use; and
• The relationships between individual drums and the overall drum set provide a logical and pleasant sounding combination.

Generative Drums Using Input From Key Board Download

When tuning a drum, drummers must keep in mind that the top (batter) head controls attack and ring, while the bottom head controls resonance, sustain, overtones, and timbre.

Rod and key tuning[edit]

Drum key[edit]

Download dropbox to my mac. A drum key or drum tuning key is a tool used to adjust the tension rods of a Drum. It is also used to adjust Drum hardware. It is used to adjust the pitch of a drum.

The most common pattern fits a square headed tension rod. There are minor variations of size between makers.

Process[edit]

• Checking that the physical condition of the drum, drum head and hardware that is to be used are in appropriate condition.
• Seating the head to shape the generic factory-shaped head to match the specific drum being used.
• Tuning the batter head to pitch.
• Tuning the resonant head to pitch relative to the batter head.
• Relating each drum's pitch and sustain to the other drums in the drum set to make the drum set a pleasant-sounding unit in accordance with the drummer's requirements.

When tensioning a head, the tensioning rod closest to the tensioner should be tightened first. The reason for this is to keep an even tension across the drum head, which is impossible to do if the lugs are tightened differently. Next, the tension rod opposite the first lug is tightened by the same number of turns. The process is repeated for the remaining lugs in order, moving from one side of the head to the other.

License key generator for fortnite. When all of the rods are tightened, the first rod is once again tightened, and the process is repeated once again for each rod until the head is free of wrinkles and a very low tone is produced when hit.

The rods are further tightened in order and incrementally, by no more than a quarter turn each time. From time to time, the head is tapped next to each tension rod and the rods are tightened and loosened so that the tones are the same all around the drum.

Generative Drums Using Input From Key Board Games

The procedure is repeated until the head has the desired pitch. Java server generate key pair. At times it may be desirable to use a specific key or individual musical notes to tune each drum to, creating more melodic tones and a more musical sound to the drums. The head is tapped once more around the edge to ensure even tuning. If double-headed drums are used, the procedure needs to be repeated with the bottom head.^[1]

Single-tension[edit]

Single-tension is one of several ways to apply the necessary tension to drum heads. Single-tension systems largely replaced the ancient rope-tension methods in the late 19th century and are still used today in lower-priced drums for student use. In this system, one long tension rod with a threaded end extends through the hoop holding the top drum head and then down outside the drum shell to a threaded hole in the bottom hoop. There usually is a small guide halfway down on single-tension drum shells to keep the tension rods straight. In older drums, the hoops are often held tight by separate clamps through which the threaded tension rod fits. Tension is applied by turning a special key that fits into a hexagonal drive, but many bass drums (especially those models designed for concert use) have permanent wing-nuts permanently affixed to each tension rod, even on double-tension drums.

Double-tension[edit]

Double-tension is a method of applying tension to drum heads. Drum manufacturers use several methods to apply tension to drum heads; the preferred way is to tighten the heads with a hoop that is held tight to the drum shell with a number of individual threaded rods which connect to stanchions mounted with bolts onto the outside of the drum shell. When there are individual stanchions for both the lower head and the upper 'struck' head, or when there is one common center-mounted stanchion that accepts the threaded rods from both the upper and lower drum heads, that is said to be a double-tension drum.

Rope tension[edit]

Rope-tension is the oldest system for applying tension to drum heads and was the standard system used until the late 19th century. A long rope (or less commonly, a series of ropes) is passed alternately between the top and bottom drum head hoops that are held to the shell by clamps that incorporate holes for the rope(s). The ropes are made tighter by sewn-together loops called 'ears', usually made of leather, which slide along the rope to pull the hoops inward, tightening the drum heads. These ears remain in position due to the tension of the rope. Drum heads tightened in this manner are not as tense as more modern single-tension or double-tension systems, but offer a historically deep tone in keeping with the heritage of certain music, such as Pipe and Drum Corps, Fife and Drum Corps, and historical military bands such as Field Music ensembles that were common during the American Revolutionary War, the War of 1812, and the American Civil War periods.

Muffling[edit]

Many percussionists prefer a more dry sound with less ring. There are many different techniques that can be used to reduce ring.

One approach is to loosen the batter head a quarter to a half turn. Another way is to either increase or decrease the pitch of the bottom head so that it's different from the pitch of the top head. Either of these approaches produces a slightly more dry, funkier sound.

If unwanted ring is not eliminated—or if these types of heads produce unwanted tones—then there are multiple external muffling techniques that may be used, including:

• Using a commercial muffling device, which resemble Mylar 'O' rings. This is a common approach and homemade muffling rings can be made by cutting up an old drum head. Some of these come with multiple rings of different sizes; layering multiple rings on top of each other increases or decreases the muffling effect.
• Placing a strip of duct tape on the batter head. Different lengths of tape, and different positions for the tape on the drum head can cause different sounds. Use of multiple strips causes a heavier muffle.
• Taping a tissue or napkin to the rim of the drum, and letting it lay loose on the batter head. Again, different thicknesses and positions create different sounds.
• For toms and snares, moongel can be used to reduce overtones. The bigger the piece of gel, the more the sound is muffled.
• An 'old school' muffling technique is to cut a long strip of felt and mount it underneath the batter head on a tom or snare, or across the front bass drum head. However, many modern drummers dismiss felt muffling as dated and feel that the felt strip interferes with the seating of the head to the drum's bearing edge, making the drum slightly more difficult to tune.
• Putting a pillow inside the drum (for bass drums). The amount of muffling is controlled by how much of the pillow touches the front or rear heads; the less contact, the less muffling. Some companies produce dedicated bass drum mufflers that look like odd-shaped pillows; these work in the same fashion.
• Cutting a hole in the front head, or porting it, is an option for bass drums. The hole eliminates much of the drum's natural resonance and creates a drier, punchier sound with a more defined attack. The larger the hole, the less the audible resonance.

References[edit]

1. ^Miller, Michael. The Complete Idiot's Guide to Playing Drums, 2nd Edition. (2004) Alpha Books.

Bibliography[edit]

• Fundamental Modes Of A Circular Membrane With Radial Constraints On The Boundary

Wang C.Y.Journal of Sound and Vibration, February 1999, vol. 220, no. 3, pp. 559–563, Ingenta.

• Comments On “Fundamental Frequency Of A Wavy Non-Homogeneous Circular Membrane”

Laura P.A.A.; Rossit C.A.; Bambill D.V.Journal of Sound and Vibration, December 2000, vol. 238, no. 4, pp. 720–722, Ingenta.

External links[edit]

• Tunadrum.com - Detailed factual step-by-step information on drum tuning

Generative music is a term popularized by Brian Eno to describe music that is ever-different and changing, and that is created by a system.

Historical background[edit]

In 1995 whilst working with SSEYO's Koan software (built by Tim Cole and Pete Cole who later evolved it to Noatikl then Wotja), Brian Eno used the term 'generative music' to describe any music that is ever-different and changing, created by a system. The term has since gone on to be used to refer to a wide range of music, from entirely random music mixes created by multiple simultaneous CD playback, through to live rule-based computer composition.

Koan was SSEYO's first real-time music generation system, developed for the Windows platform. Work on Koan was started in 1990, and the software was first released to the public in 1994. In 1995 Brian Eno started working with SSEYO's Koan Pro software, work which led to the 1996 publication of his title 'Generative Music 1 with SSEYO Koan Software'.

In 2007 SSEYO evolved Koan into what became Intermorphic Noatikl, and eventually Noatikl itself evolved into Wotja; Wotja X was launched in 2018 for all of iOS, macOS, Windows and Android.

Eno's early relationship with SSEYO Koan and Intermorphic co-founder Tim Cole was captured and published in his 1995 diary A Year with Swollen Appendices.

Software[edit]

Generative Drums Using Input From Keyboard To Windows 7

Many software programs have been written to create generative music.

Others[edit]

Programs from other sources include the following:

• FractMus, developed by Gustavo Díaz-Jerez is a real-time algorithmic music generator.
• Nodal (2007–present), a graph-based generative composition system for real-time MIDI sequence generation (for macOS and Windows)
• Bloom developed 2008 by Peter Chilvers together with Brian Eno for the iPhone and iPod Touch.
• Modern generative music games have been considered generative in character.
• Sergio Maltagliati generative music software

Theory[edit]

There are four primary perspectives on generative music (Wooller, R. et al., 2005) (reproduced with permission):

Linguistic/structural[edit]

Music composed from analytic theories that are so explicit as to be able to generate structurally coherent material (Loy and Abbott 1985; Cope 1991). This perspective has its roots in the generative grammars of language (Chomsky 1956) and music (Lerdahl and Jackendoff 1983), which generate material with a recursivetree structure.

Interactive/behavioural[edit]

Music generated by a system component that has no discernible musical inputs. That is, 'not transformational' (Rowe 1991; Lippe 1997:34; Winkler 1998). The Wotja software by Intermorphic, and the Koan software by SSEYO used by Brian Eno to create Generative Music 1, are both examples of this approach.

Creative/procedural[edit]

Music generated by processes that are designed and/or initiated by the composer. Steve Reich's It's Gonna Rain and Terry Riley's In C are examples of this (Eno 1996).

Biological/emergent[edit]

Non-deterministic music (Biles 2002), or music that cannot be repeated, for example, ordinary wind chimes (Dorin 2001). This perspective comes from the broader generative art movement. This revolves around the idea that music, or sounds may be 'generated' by a musician 'farming' parameters within an ecology, such that the ecology will perpetually produce different variation based on the parameters and algorithms used. An example of this technique is Joseph Nechvatal's Viral symphOny: a collaborative electronic noise music symphony^[1] created between the years 2006 and 2008 using custom artificial life software based on a viral model.^[2]

Other notes[edit]

• Brian Eno, who coined the term generative music, has used generative techniques on many of his works, starting with Discreet Music (1975) up to and including (according to Sound on Sound Oct 2005) Another Day on Earth. His works, lectures, and interviews on the subject^[3] have done much to promote generative music in the avant-garde music community. Eno used SSEYO'sKoan generative music system (created by Pete Cole and Tim Cole of Intermorphic), to create his hybrid album Generative Music 1 (published by SSEYO and Opal Arts in April 1996), which is probably his first public use of the term generative music.
• Lerdahl and Jackendoff's publication described a generative grammar for homophonic tonal music, based partially on a Schenkerian model. While originally intended for analysis, significant research into automation of this process in software is being carried out by Keiji Hirata and others.
• In It's Gonna Rain, an early work by contemporary composer Steve Reich, overlapping tape loops of the spoken phrase 'it's gonna rain' are played at slightly different speeds, generating different patterns through phasing.
• A limited form of generative music was attempted successfully by members of the UK electronic music act Unit Delta Plus; Delia Derbyshire, Brian Hodgson and Peter Zinovieff, in 1968. However, its use would only be popularized later on.

See also[edit]

Footnotes[edit]

1. ^Observatori 2008: After The Future, p. 80
2. ^Joseph Nechvatal Interview: see end for mention of viral symphOny
3. ^Artscape - Brian Eno In Conversation 2009(video)

References[edit]

• Artística de Valencia, After The Net, 5 – 29 June 2008, Valencia, Spain: catalogue: Observatori 2008: After The Future, p. 80
• Biles, A. 2002a. GenJam in Transition: from Genetic Jammer to Generative Jammer. In International Conference on Generative Art, Milan, Italy.
• Chomsky, N. 1956. Three models for the description of language. IRE Transcripts on Information Theory, 2: 113-124.
• Collins, N. 2008. The analysis of generative music programs. Organised Sound, 13(3): 237–248.
• Cope, D. 1991. Computers and musical style. Madison, Wis.: A-R Editions.
• Dorin, A. 2001. Generative processes and the electronic arts. Organised Sound, 6 (1): 47-53.
• Eno, B. 1996. Generative Music. http://www.inmotionmagazine.com/eno1.html (accessed 26 February 2009).
• Essl, K. 2002. Generative Music. http://www.essl.at/bibliogr/generative-music.html (accessed 22 Mar 2010).
• García, A. et al. 2010. Music Composition Based on Linguistic Approach. 9th Mexican International Conference on Artificial Intelligence, MICAI 2010, Pachuca, Mexico. pp. 117–128.
• Intermorphic Limited History of Noatikl, Koan and SSEYO (accessed 26 February 2009).
• Lerdahl, F. and R. Jackendoff. 1982. A generative theory of tonal music. Cambridge, Mass: MIT Press.
• Lippe, C. 1997. Music for piano and computer: A description. Information Processing Society of Japa SIG Notes, 97 (122): 33-38.
• Loy, G. and C. Abbott. 1985. Programming languages for computer music synthesis, performance and composition. ACM Computing Surveys, 17 (2): 235-265.
• Nierhaus, G. Algorithmic Composition - Paradigms of Automated Music Generation. Springer 2009.
• Rowe, R. 1991. Machine Learning and Composing: Making Sense of Music with Cooperating Real-Time Agents. Thesis from Media Lab. Mass.: MIT.
• Winkler, T. 1998. Composing Interactive Music. Cambridge, Massachusetts: MIT Press.
• Wooller, R., Brown, A. R, et al. A framework for comparing algorithmic music systems. In: Symposium on Generative Arts Practice (GAP). 2005. University of Technology Sydney.