KORG MINISAMPLER

Korg has prepared yet another compilation of bonus sounds for your microSAMPLER, downloadable for free from the microSAMPLER

First, we invite you to experience a bit of Korg history with our exclusive Doncamatic samples! The Doncamatic is the first product ever produced by Korg; an electro-mechanical rhythm box made nearly 50 years ago. Korg engineers restored the original Doncamatic at our Korg Product Museum in Tokyo to its original condition to create these samples! The Doncamatic was used most recently on the single “DONCAMATIC,” released by the internationally famous group Gorillaz. Enjoy One-Shot sounds, Loops, and Patterns of this important classic.

Next up is three banks created by our friends at SampleMagic, and compiled by Sharooz Raoofi. Each of their Deep Tech-House, Nu-Rave, and Organic House selections includes a great set of patterns tempo-synced to the pattern sequencer for instant use. More details are available with the free download. Click on Support and explore all of the free downloadable sample for your microSAMPLER

The latest addition to the Korg "micro" series serves up sampling with a powerful performance punch! The microSAMPLER delivers multi-mode sampling, resampling, Pattern Sequencing and over-the-top effects – and all under a fun-to-use intuitive interface. More than just a sampler, the microSAMPLER is a complete sound design studio for creating up-to-the minute loops and phrases.



Giant Sampling / microSIZE
The microSAMPLER hosts a solid complement of top-end sampling features to expand your creative potential. This full-fledged instrument offers fourteen-voice polyphony, reverse playback, editing operations such as Normalize and Truncate, and a Time Stretch feature that lets you change the tempo without affecting the pitch. Selectable sample rates of 48 kHz, 24 kHz, 12 kHz, and down to 6 kHz let you sample at rates beyond CD clarity or add in that Lo-Fi vintage vibe. Each bank contains 36 samples (a maximum of approximately 160 seconds of recording time for monaural samples at a 48 kHz sampling rate) and sixteen patterns of sequence data; the microSAMPLER lets you store eight such banks in internal memory. The Keyboard mode takes a single sample and assigns it chromatically across the keys for instant playability. With its recessed controls, bright LEDs and informative display, the microSAMPLER is fun to use and easy to operate – for beginners or seasoned pros. 



Swiss Army Sampling
Too many instruments simply offer sampling as an added feature. The microSAMPLER is all about sampling, in every creative form. Five distinct sampling methods allow you to work the way you want, to get the results you need. The microSAMPLER offers traditional One-Shot and Loop sampling, plus a number of creative sampling modes – Loop, Key Gate and Auto-Next. When it comes to sampling, the microSAMPLER has it all. 

• Loop sampling for recording grooves and phrases, drum loops, etc.
• One-Shot sampling for grabbing and triggering single events such as drums, etc. 
• Gate sampling for playing a sound musically across the keyboard
• Auto-Next sampling for capturing phrases as multiple samples. For grabbing a groove as separate samples on individual keys, choose the AUTO NEXT mode and use Tap Tempo to match the BPM of the source material. The microSAMPLER will automatically divide the sample equally across multiple keys. Each key can be set to capture anything from a 64th note to a full two measures. This method lets you automatically perform the same type of sampling as KEY GATE.
• Key Gate sampling is best for grabbing multiple samples from the same source. With Key Gate, you can take multiple samples from the same source or phrase and assign them to different keys as you play them! The individual keys assign the sample and enable recording all at the same time. This intuitive method of sampling, editing, and mapping in a single step is fun, interactive and fast. 

In addition, there's a resampling function that lets you play existing layered samples processed by an effect and played by the pattern sequencer – and capture it all as a new sample. You can even sample while playing, allowing the sampling process itself to become part of your expressive performance. 

Sample anytime, anywhere – or anything!
The microSAMPLER can run on batteries, so you can perform on the go – or capture samples anywhere. Both line input and mic input are provided to allow a broad range of input sources including electronic musical instruments, CD, and voice. A gooseneck microphone is included so you can capture sounds with ease. The convenient caddies (located beside the mic jack) provide a cradle for your portable MP3/audio player when using it as a sample source. Truly, the world is yours to sample anytime and anyplace. 

Pattern Possibilities
The pattern sequencer uses an overdub operating style that lets you continually layer your performances. You can switch between patterns during playback for seamless performances. Up to sixteen patterns (16,000 notes per pattern, or a maximum 64,000 notes) can be stored in each bank.

The KAOSS Effect(s)
Developed for Korg's KAOSS PAD series, the effect engine serves up a great selection of effects – so important when editing samples. The twenty-one effects include not only traditional delay and chorus, but also ring modulator and grain shifter, and even a Looper that's derived from the Loop Recording feature of the KAOSSILATOR Dynamic Phrase Synthesizer. The effects can be applied to any sound while resampling, allowing the effects to be used over and over again for more sonic expression.

Made to be Played
The microSAMPLER features our new Natural Touch micro keyboard, offering greatly enhanced playability and expressive power. By adjusting the proportion of the black keys and white keys, we've made chords easier to finger, and the touch has been improved so that rapid phrases can be played more easily – and with less fatigue. The box-shaped keys project a sense of quality, and also allow smoother glides and smears. The controllers you need for an exciting performance are laid out on the panel for intuitive operation. The status of the samples assigned to each key (and the item being edited) is indicated by the lit state of the LEDs running along the top of the keyboard, ensuring excellent visibility even on stage. 

USB-eautiful
By using the free editor/librarian software for the microSAMPLER, you can manage a gigantic sample library that's all your own. You can back up sample and pattern sequence data to your computer via USB, or load samples and patterns back in just as easily. . Importing and exporting of WAV/AIFF data on your computer is also supported. The possibilities are endless…

RAVI SHANKAR

RAVI SHANKAR

Es triste que haya fallecido Ravi Shankar, lo conocí junto a Gerry Weil en el Teatro Municipal de Caracas cuando dio su concierto con Allah Raka , discípulo de Ustad Allauddin Khan, gran maestro de la música India Clásica , Gerry Weil y yo recibimos ciertas nociones de los Ragas Hindúes y yo aprendí la nomenclatura Hindú del Sitar, ya que incursione en este instrumento como su antecesor fue la Veena , de ahí partí a hacer Ragas en mis Albums , la ultima la toque en el Concierto en Caracas en Noviembre del 2010, tanto me influyó este maestro que entre a practicar la disciplina del Yoga, dejar de Comer Carne, leer los Vedas y los Upanishads, me case con Hindú que aun sigue siendo mi esposa, quien a veces me acompaña con la tampura y las tablas..Gloria a este ser Luminoso!! Viva Ravi Shankar!! Espero que hayas alcanzado la Liberación...Namaste  Ravi!!!

John Moore , uno de los mejores diseñadores gráficos , me regalo uno de los mejores Álbum de Ravi Shankar junto a Yehudi Menuhim, no éramos aun amigos, pero conservo la amistad con John y también el Álbum que él me regaló.

YEHUDI MENUHIM & RAVI SHANKAR 

Ravi Shankar de dio la amistad de Gerry Weil y de John Moore, y cumplió mi sueño de tocar con Gerry Weil en escenario, eso ocurrió en el encuentro de Música electrónica en Caracas Febrero de 1983.

Dios Bendiga a Ravi Shankar que mucho influyó en la música Occidental ¡!!

RAVI SHANKAR PLAYING SITAR 

Sadly deceased Ravi Shankar, I met with Gerry Weil at the Teatro Municipal de Caracas when he gave his concert with Allah Raka, disciple of Ustad Allauddin Khan, the great master of classical Indian music, Gerry Weil and I received notions of Indian ragas and I learned Sitar Indian nomenclature as forays into this instrument as his predecessor was the Veena, hence I left to do in my Albums Ragas, the last touches on the concert in Caracas in November 2010, both this teacher who influenced me from practicing the discipline of Yoga, stop eating meat, read the Vedas and Upanishads, Hindu marry me even still my wife, who sometimes accompanies me with tampura and tables .. Gloria this being of light! Ravi Shankar Live! I hope you've reached ... Namaste Ravi Liberation!

YEHUDI MENUHIM & RAVI SHANKAR 

John Moore, one of the best graphic designers, gave me one of the best album of Ravi Shankar with Yehudi Menuhin, we were not even friends, but I keep friendship with John and also the album that he gave me.

Ravi Shankar's friendship gave Gerry Weil and John Moore, and fulfilled my dream of playing on stage with Gerry Weil, this happened at the meeting of electronic music in Caracas in February 1983.

God Bless Ravi Shankar much influenced Western music!

BUCHLA SYNTHETIZER

Buchla

Buchla & Associates, Inc. is a manufacturer of electronic musical instruments, notably synthesizers and unique MIDI controllers. The 200e Electric Music Box and Lightning III are currently in production.

History

Buchla Music Box (1963)

The original Buchla Music Box was the brainchild of Don Buchla and came from a commission by composers Ramon Sender and Morton Subotnick. First built in 1963, this synthesizer was composed of several "modules" that generated or modified a music event. Each box served a specific function: oscillator, filter, sample and hold, etc. This would have an effect on the pitch, timbre, amplitude and spatial location of the sound. The idea was to allow musicians and composers to create sounds suited to their own specifications. Previously, one had to utilize either discrete audio generators such as test oscillators or via musique concrète, recorded sounds from natural sources. Although it was a fresh and exciting idea and an excellent way to get new sounds, this was very time-consuming and arduous. The Buchla Box allowed musicians to bend and manipulate sound all in one device. This would lead to the many kinds of electronic instruments available today.

Buchla 100 series (1963)

The Buchla 100 series Modular Electronic Music System[2] was commissioned specifically by Subotnick in 1963 for use on his first major electronic work Silver Apples Of The Moon. He gave Don Buchla ideas and specifications for what the instrument should do. It was also used on Buffy Sainte Marie's influential 1969 album, Illuminations. Along with Robert Moog's Moog synthesizer, it would go on to revolutionize the way music and sound is made.

Buchla 200 series (1970)

The Buchla 200 series Electric Music Box[3] replaced the previous model in 1970 and represented a significant advance in technology. Almost every parameter can be controlled from an external control voltage.

Computer controlled instruments

Buchla 300, 500, Touché (mid 1970s)

In the mid 1970s, Don Buchla began experimenting with digital designs and computer controlled systems. The results were the 500 series[4] and the 300 series,[5] both of which paired the new technology with existing 200 series modules to create hybrid analog/digital systems. The Touché[6] was also the result of this research, and was also his final attempt to market a "mainstream" Buchla synth[citation needed].

Buchla 400, 700, and MIDAS (1980s)

Also in 1980s, Buchla released the 400 series[7] and the 700 series[8] software controlled instruments operated by MIDAS, a Forth language for musical instruments, and also equipped MIDI.

Buchla's unique synthesizer designs

Earliest analog sequencers (array of knobs on the bottom) on Buchla 100

Buchla 250e Arbitrary Function Generator

Buchla tends to not refer to his instruments as synthesizers, as he feels that name gives the impression of imitating existing sounds/instruments. His intent is to make instruments for creating new sounds. This convention is evidenced by the omission of a standard musical keyboard on his early instruments, which instead used a series of touch plates which were not necessarily tied to equal-tempered tuning. He also has different naming conventions than most of the industry: for example, one of his modules is called a "Multiple Arbitrary Function Generator." These differences run deeper than nomenclature though. The Multiple Arbitrary Function Generator (or MARF) goes well beyond what a typical sequencer is capable of performing and is capable of acting as an envelope generator, LFO, CV selector, voltage quantizer[disambiguation needed] or tracking generator. Another module that sometimes gets cited for its uniqueness is the Source of Uncertainty. The Source of Uncertainty provides many different flavors of randomness, from noise of different colors, to a LFO-like fluctuating random voltage, and a couple forms of triggered static random voltages, all under voltage control. The Source of Uncertainty goes well beyond a noise and random module in a typical synthesizer.

Buchla Music Easel

It is also important to note that Don Buchla and Robert Moog simultaneously invented the modular synthesizer in 1963, Moog in New York and Buchla in San Francisco. This is an apparent example of multiple discovery. While there had been previous synthesizer experiments, Moog's and Buchla's major development that made the synthesizer portable and flexible was that of using control voltage to manipulate the various elements of the circuits.

Buchla's instruments, such as the Music Easel (pictured),[1] use a different method of timbre generation than Moog synthesizers. Moog units use oscillators with basic function generator type waveshapes and rely heavily on filtering with 24dB resonant low-pass filters, while Buchlas are geared toward complex oscillators using frequency modulation, amplitude modulation, and dynamic waveshaping to produce other forms of timbre modulation. Many of Don Buchla's designs, including the Low-Pass Gates (later called Dynamic Managers) contain vactrols, photoresistive opto-isolator employed as voltage-controlled potentiometers, which contribute to a very "natural" Buchla sound.

MIDI controllers (late 1980s)

Buchla Thunder, Buchla Lightning, Marimba Lumina

By the late 1980s, Don Buchla had stopped creating instruments and shifted his focus to alternate MIDI controllers. His controller designs have included the Thunder, Lightning, and Marimba Lumina.

Oberheim OB-Mx (1995)

In 1995, he was brought on to the team that designed the Oberheim OB-Mx,[12] the so called "Ober-Moog", in the 11th hour to help make it a working instrument. A hybrid analog/digital design, the OB-MX uses many of the lessons learned when researching for the 300 and 500 systems.

Buchla 200e series (2004)

Finally, in 2004, Don Buchla returned to designing full blown modular electronic instruments with the 200e, a hybrid system using digital microprocessors that uses the same size modules and signals as the 100 and 200 series systems. The 200e modules convert all signals to analog at the panel, appearing to the user like an analog system, with patch cables. Systems can be built using a combination of 100, 200 and 200e modules. The 200e modules connect through a digital communications buss, allowing the system to store the settings of the knobs and switches.

TAMPURA

Tambura

The tambura, tanpura, tamboura or taanpura is a long-necked plucked lute (a stringed instrument found in different forms and in many places). The body shape of the tambura somewhat resembles that of the sitar, but it has no frets – and the strings are played open. One or more tamburas may accompany other musicians or vocalists. It has four or five (rarely six) wire strings, which are plucked one after another in a regular pattern to create a harmonic resonance on the basic note (bourdon or drone function). An electronic tanpura is often substituted in contemporary Indian classical music performance.

Tamburas come in different sizes and pitches: larger "males", smaller "females" for vocalists, and a yet smaller version is used for accompanying sitar or sarod, called tamburi or tanpuri. Male vocalists pitch their tonic note (Sa), often to about C♯; female singers usually a fifth higher, though the tonic may be any note, as there is no absolute pitch in the Indian classical music systems. The male instrument has an open string length of approximately one metre; the female is three-fourths of the male. The standard tuning is 5-8-8-1 (sol do' do' do) or, in Indian sargam, PA-sa-sa-SA. For ragas that omit the fifth, the first string is tuned down to the natural fourth: 4-8-8-1 or Ma-sa-sa-Sa. Some ragas require a less common tuning with shuddh NI (one semitone below octave sa), NI-sa-sa-SA. With a five-string instrument, the seventh or NI (natural minor or major 7th) is added: PA-NI-sa-sa-SA (5-7-8-8-1)or MA-NI-sa-sa-SA (4-7-8-8-1).

The name tanapura is probably derived from tana, referring to a musical phrase, and pura, which means "full" or "complete". Both in its musical function and how it works, the tambura is unique in many ways. It does not partake in the melodic part of the music, but it supports and sustains the melody by providing a colourful and dynamic harmonic resonance field based on one precise tone, the basic note or key note. Also, it is not played in rhythm with the music. Its tempo is independent of the music it supports, and the speed of playing may vary throughout a performance or remain relatively constant, at the discretion of the player.

The special overtone-rich sound is achieved by applying the principle of jivari, which creates a sustained "buzzing" sound in which particular harmonics will resonate with focused clarity. Jivarefers to "soul", that which gives life, implying that the tambura embodies an "animated" tone quality. The principle of jivari can be compared to the prismatic refraction of white light into the colours of the rainbow, as its acoustic twin principle at work.

To achieve this effect, the strings pass over a wide, arched bridge, the front of which slopes gently away from the surface of the strings. When a string is plucked, it has intermittent periodical contact with the bridge; this intermittent grazing of the string and bridge is not a static process, as the points of contact will gradually shift, being a compound function of amplitude, the curvature of the bridge, and string tension. When the string is plucked, it has a large amplitude, moving up and down and contacting the bridge on the down-phase. As the energy of the string's movement gradually diminishes, the contact point of the string with the bridge slowly creeps up the slope to the top of the bridge, finally resting at the top of the bridge. Depending on scale and pitch, this can take between three and ten seconds. This dynamic process can be fine-tuned using a cotton thread between string and bridge: by shifting the thread, the grazing contact is shifted to a different position on the bridge, changing the harmonic content. Every single string produces its own cascading range of harmonics and, at the same time, builds up a particular resonance. According to this principle, tamburas are attentively tuned to achieve a particular tonal shade relative to the intonation-related qualities of the raga.

These more delicate aspects of tuning are directly related to what Indian musicians call raga svaroop, which is about how characteristic intonations strengthen the tonal impression of a particular raga. The tambura's particular setup, with its adjustable bridge, made it possible to explore a multitude of harmonic relations produced by the subtle harmonic interplay of four strings.

Tamburas are designed in three different styles:

§  Miraj style: the favourite form of tanpura for Hindustani performers. It is usually between three to five feet in length, with a well-rounded resonator plate (tabli) and a long, hollow straight neck. The round lower chamber to which the tabli, the connecting heel-piece and the neck (dandh) are fixed is actually a selected and dried gourd (tumba). Wood used is either tun or teak; bridges are usually cut from one piece of bone.

§  Tanjore style: this is a south Indian style of tambura, used widely by Carnatic music performers. It has a somewhat different shape and style of decoration from that of the miraj, but is otherwise much the same size. Typically, no gourd is used, but the spherical part is gouged out of a solid block of wood. The neck is somewhat smaller in diameter. Jackwood is used throughout; bridges are usually cut from one piece of rosewood. Often, two rosettes are drilled out and ornamented with inlaywork.

§  Tamburi: small-scale instruments, used for accompanying instrumental soloists. It is two to three feet long, with a flat bed-pan type wooden body with a slightly curved tabli. It may have from four to six strings. Tamburi are tuned to the higher octave and are the preferred instruments for accompanying solo performances by string-playing artists, as the lighter, more transparent sound does not drown out the lower register of a sitar, sarod, or sarangi.

Tanpura (India)

La tanpura, tambura o tambora, es un instrumento de cuerda pulsada de la India, que se usa para mantener sonidos zumbantes constantes. Es un instrumento de la misma familia de la vina, tiene una relación con la diosa Saraswati, patrona y musa de las Bellas Artes en el panteón hindú.

Está confeccionado con una gran calabaza, que hace de caja de resonancia,  la que sale un mástil de madera. Tiene cuatro cuerdas -aunque excepcionalmente hay tanpuras de 5 cuerdas- que se afinan para crear la armonía de la octava. Una afinación característica para obtener la base armónica de una Raga, tal como se les llama a las composiciones tradicionales indias, sería:

- 1ª cuerda se afina en la nota “sol”, que en la escala india corresponde a “pa”.

- 2ª y 3ª cuerdas se afinan en “do alto”, correspondientes al “sa alto” de la escala india

- 4ª cuerda (nota tónica o básica) se afina en “do básico”, “sa básico” en la escala india.

La unión de vibraciones de las distintas cuerdas crea sonidos intermedios que forman el fondo circular tan característico de esta música.

La tanpura ofrece la peculiar y mántrica constancia de su sonido y durante un concierto es como el faro o punto de referencia que el resto de músicos necesita para no extraviarse en sus largos paseos por estas composiciones libres de partitura. Generalmente es el propio músico solista quien comprueba -y retoca si así lo considera- la afinación de la tanpura justoantes de comenzar el concierto. Es un instrumento de gran belleza estética en su forma tradicional, pero el volumen de estas tanpuras hace complicado su transporte y en la actualidad los músicos habitualmente optan en sus desplazamientos por un diseño más funcional, en el que una delgada y rectangular caja de madera da la resonancia y  a la vez sostiene las cuerdas.

MISA KITARA

The Misa Kitara

The Misa digital guitar is an experimental new instrument, similar to an electric guitar in shape, but with an interface designed to easily and intuitively control digital audio.

Most musicians today use some form of audio synthesis or sampling in their music. Virtually any type of sound can be created using these methods. Traditionally, digital piano keyboards have been the dominant instrument for controlling these sounds real-time in a musical setting.

At Misa, we provide a new instrument that not only unites traditional guitar playing technique with digital sound, but allows digital guitarists to use playing techniques that are not possible or comfortable on a digital keyboard!

Play notes by touching the screen. The position and movement of your touch determines how the sound is generated and processed. 

MIDI output means you only need to connect the Kitara to a MIDI device, and it becomes an extension of your existing equipment!

f you're not, that's fine, you can ignore this point :). But programmers will be happy to know the Kitara software is open-source on github!

You can apply a number of digital effects, including distortion, delay and modulation. You can save sounds as presets, and you can swap preset files online. You can assign one sound to all six strings, or assign different sounds to different strings.

The Kitara neck has six rows of buttons, each corresponding to a musical note. It's configured out of the box like a traditional guitar neck - but you can change the tuning. The neck is modular - and new neck types will be available soon.

Super configurable including various modes, you can choose the playing interface you like the best.

La guitarra Misa digital es un instrumento experimental nuevo, similar a una guitarra eléctrica en forma, pero con una interfaz diseñada para controlar fácilmente y de manera intuitiva audio digital.

La mayoría de los músicos de hoy en día utilizan algún tipo de síntesis de audio o el muestreo en su música. Virtualmente cualquier tipo de sonido se pueden crear utilizando estos métodos. Tradicionalmente, los teclados de piano digital han sido el instrumento dominante para controlar estos sonidos en tiempo real en un ambiente musical.

En la Misa, ofrecemos un nuevo instrumento que no sólo une técnica de la guitarra tradicional juego con sonido digital, pero permite a los guitarristas digitales para utilizar técnicas de ejecución que no son posibles ni cómodo en un teclado digital!

Toque las notas al tocar la pantalla. La posición y el movimiento del contacto determina la forma en que el sonido se genera y procesa.

Salida MIDI significa que usted sólo tenga que conectar el Kitara a un dispositivo MIDI, y se convierte en una extensión de su equipo existente!

Si usted no lo tiene, eso está bien, puede ignorar este punto :). Pero los programadores estarán encantados de saber que el software Kitara es de código abierto en github!

Se puede aplicar un número de efectos digitales, incluyendo distorsión, delay y modulación. Usted puede guardar sonidos como predeterminadas, y se puede intercambiar archivos predefinidos en línea. Puede asignar un sonido a las seis cuerdas, o asignar diferentes sonidos a diferentes cadenas.

El cuello Kitara cuenta con seis filas de botones, cada uno correspondiente a una nota musical. Está configurado de la caja como un cuello de la guitarra tradicional - pero usted puede cambiar la afinación. El cuello es modular - y los nuevos tipos de cuello estará disponible pronto.

Configurable Súper incluyendo diversos modos, se puede elegir la interfaz de juego que más le guste.

The QChord Digital Songcard Guitar

What exactly is a "Digital Songcard Guitar" anyway?

The QChord is a state-of-the-art, portable, self-contained instrument. It uses the latest microprocessor technology to deliver incredible sound and myriad playing options. Developed by Suzuki, makers of the Omnichord, digital pianos, and many other musical instruments, it combines features of an autoharp, piano, guitar, and other musical instruments, in digital form.

Can't play a note?

Even if you can't play a note, this laptop musical instrument will let you improvise like a pro today - while a hot combo follows your lead!

But how to play?

Just push the chord button you read from your QChord Songbook, and a dynamic rhythm section plays inspiring accompaniment in the musical style and tempo you select. Simultaneously, QChord's unique strumplate puts four octaves of the chord's notes at your fingertips, for strumming or tapping in 100 different selectable voices.

Or, plug in a QCard Digital Songcard Cartridge, and let it direct your combo through beautiful arrangements of your favorite tunes - while you jam - and never hit a clinker! QChord's advanced digital technology starts you off sounding great, regardless of your ability. All this you can accomplish using just the QChord's basic features.

Unlimited Potential

And, you'll find that there's unlimited creative potential for any level of musical talent as you become familiar with the countless other advanced features for varying your musical expression. There's a pitch-bend wheel, vibrato, reverb, and the option to use the chord buttons as a standard keyboard, to name just a few. And all in a self-contained, lightweight*, portable instrument, with a built-in speaker and bass port that deliver impressive room-filling sound!

El QChord Digital Guitar Songcard

¿Qué es exactamente un "Guitar Digital Songcard" ?

El QChord es un estado-of-the-art, portátil, autónomo instrumento. Utiliza la última tecnología de microprocesador para ofrecer un sonido increíble y una miríada de opciones de juego. Desarrollado por Suzuki, fabricante de la Omnichord, pianos digitales, y muchos otros instrumentos musicales, que combina las características de una guitarra arpa, piano, y otros instrumentos musicales, en formato digital.

No se puede reproducir una nota?

Incluso si usted no puede tocar una nota, este instrumento musical portátil le permitirá improvisar como un profesional hoy en día - mientras que un combo caliente sigue su ejemplo!

Pero, ¿cómo se toca?

Basta con pulsar el botón de acordes que leer de su Cancionero QChord, y una sección de ritmo dinámico juega acompañamiento de inspiración en el estilo musical y el tempo seleccionado. Al mismo tiempo, strumplate único QChord pone cuatro octavas de notas del acorde a su alcance, para rasguear o pulsar en 100 voces diferentes seleccionables.

O bien, conecte un QCard Digital Songcard cartucho, y se deja dirigir su combo a través de hermosos arreglos de sus canciones favoritas - mientras que usted jam - y nunca más tocó un clinker! Avanzada tecnología digital de QChord usted comienza un sonido excepcional, independientemente de su capacidad. Todo esto se puede lograr usando sólo las características básicas del QChord de.

Potencial Ilimitado

Y, usted encontrará que hay potencial creativo ilimitado para cualquier nivel de talento musical a medida que se familiarice con las innumerables otras características avanzadas para variar su expresión musical. Hay un pitch-bend rueda, vibrato, reverberación, y la opción de utilizar los botones de acordes como un teclado estándar, por nombrar sólo algunos. Y todo ello en un auto-contenido, * ligero instrumento, portátil, con un puerto de altavoz de graves y que ofrecen impresionantes llenar la sala de sonido!

AUTOHARP

Autoharp

modern Autoharp

The autoharp is a musical string instrument having a series of chord bars attached to dampers, which, when depressed, mute all of the strings other than those that form the desired chord. Despite its name, the autoharp is not a harp at all, but a chorded zither.

There is debate over the origin of the autoharp. A German immigrant in Philadelphia by the name of Charles F. Zimmermann was awarded US 257808 in 1882 for a design for a musical instrument that included mechanisms for muting certain strings during play. He named his invention the autoharp.[3] Unlike later autoharps, the shape of the instrument was symmetrical, and the felt-bearing bars moved horizontally against the strings instead of vertically. It is not known if Zimmermann ever commercially produced any instruments of this early design. Karl August Gütter of Markneukirchen, Germany, built a model that he called a Volkszither, which most resembles the autoharp played today. Gütter obtained a British patent for his instrument circa 1883–1884. Zimmermann, after returning from a visit to Germany, began production of the Gütter design in 1885 but with his own design patent number and catchy name. Gütter's instrument design became very popular, and Zimmermann has often been mistaken as the inventor.

Trademark

The term Autoharp was registered as a trademark in 1926.[4] The word is currently claimed as a trademark by U.S. Music Corporation, whose Oscar Schmidt division manufactures Autoharps.[citation needed] The USPTO registration, however, covers only a "Mark Drawing Code (5) WORDS, LETTERS, AND/OR NUMBERS IN STYLIZED FORM" and has expired.[5] In litigation with George Orthey, it was held that Oscar Schmidt could only claim ownership of the stylized lettering of the word Autoharp, the term itself having moved into general usage.

Although the autoharp is often thought of as a rhythm instrument for playing chordal accompaniment, modern players can play melodies on the instrument. Diatonic players are able to play fiddle tunes by using open-chording techniques, "pumping" the damper buttons while picking individual strings. Skilled chromatic players can perform a range of melodies.

Diatonically strung single key instruments from modern day luthiers such as Orthey, Fladmark, Hollandsworth, D'Aigle, Baker, Daniels and Goose Acres are known for their lush sound. This is accomplished by doubling the strings for individual notes. Since the strings for notes not in the diatonic scale need not appear in the string bed, the resulting extra space is used for the doubled strings, resulting in fewer damped strings. Two- and three-key diatonics compromise the number of doubled strings to gain the ability to play in two or three keys, and to permit tunes containing accidentals, which could not otherwise be rendered on a single key harp. A three-key harp in the circle of fifths, such as a GDA, is often called a festival or campfire harp, as the instrument can easily accompany fiddles around a campfire at a festival in their favored keys.

Electric autoharp

Until the 1960s there were no pickups to amplify the autoharp other than a rudimentary contact microphone, which had a poor-quality, tinny sound. Eventually a bar magnetic pickup was designed by Harry DeArmond, and manufactured by Rowe Industries. Roger Penney of Bermuda Triangle Band was the first person to introduce the electric autoharp to the public, as cited in a 1968 Variety article.[7] In the 1970s Oscar Schmidt came out with their own magnetic pickup.

Shown at the right is a 1930 refinished Oscar Schmidt Inc. Model "A". This harp has 2 DeArmond magnetic pickups (one under the chord bars), with a fine tuning mechanism, and chord bar assembly, and was used in a 1968 MGM/Heritage Records recording by Euphoria.

A synthesized version of the autoharp, the Omnichord, was introduced in 1981 and is now known as the Q-Chord, described as a "digital songcard guitar".

Notable performers

Autoharps have been used in the United States as bluegrass and folk instruments, perhaps most famously by Maybelle Carter, Sara Carter, Helen Carter and June Carter, all of the Carter Family. They are relatively easy to learn to play as a rhythm instrument, but offer great rewards to the more committed player as a melody instrument. Grand Ole Opry star Cecil Null was the first to develop the upright style for playing the autoharp that was in turn used by the Carter Family.

Maybelle Carter's granddaughter Carlene Carter frequently plays the autoharp onstage and on her recordings; her song "Me and the Wildwood Rose", a tribute to her grandmother, makes prominent use of the autoharp.

Outside of bluegrass and country music, both acoustic and electric autoharp were occasionally used in the folk-influenced parts of late 1960s/1970s progressive rock, psychedelia and related genres by e.g. Genesis, Renaissance and Led Zeppelin.

Sylvia Tyson of Ian & Sylvia featured the autoharp in a number of recordings, including "You Were on My Mind".
Angel Rada used it in the rock band Venezolana GAS LIGHT on several issues after seeing the performance of John Sebastian in the American rock band Lovin 'Spoonful and even today uses it for some of their songs from their albums.

Several Lovin' Spoonful songs feature the autoharp playing of John Sebastian, including "Do You Believe in Magic" and "You Didn't Have to Be So Nice". He also played in the 1979 Randy VanWarmer hit song Just When I Needed You Most.

Jeff Wayne's Musical Version of The War of the Worlds' score features a part for autoharp.

Janis Joplin also played the autoharp, which can be heard in her early, unreleased recording "So Sad to Be Alone".

British musician PJ Harvey played the autoharp on her 2004 album Uh Huh Her, specifically on the song "The Darker Days of Me & Him"). Her 2007 album White Chalk also features the instrument on many tracks. She also wrote and recorded most of her latest album Let England Shake on the autoharp.

Canadian singer song writer Basia Bulat, is a well known user of the Autoharp, using it both live and on her recording material, in particular her 2010 album Heart of My Own.

British singer songwriter Corinne Bailey Rae regularly plays the autoharp and composed the title track "The Sea" from her 2010 Mercury Award nominated album called "The Sea" using chords that she composed on the autoharp.

US band Midlake use an autoharp on the album The Courage of Others.

New York-based band Billy Nayer Show uses autoharp prominently in their music.

Marc Gunn, a Celtic artist, uses the autoharp in nearly all of his songs.

Dolly Parton occasionally plays the autoharp onstage.

Comics artist and musician Anonymous Boy plays the autoharp for his punk rock band The Spines.

Kyle Siptroth, known for Appalachian style folk music, is extremely popular in the Midatlantic region. He appeared with John McCutcheon in 1996 in Tampa, FL.

UK singer/songwriter Tracey Thorn plays autoharp on her single "Why Does The Wind" where she is also seen playing it in the video. As well she plays autoharp on several songs on albums "Love and Its Opposite" and "Tinsel and Lights".

Autoharp

moderno Autoharp

El autoharp es un instrumento musical de cuerda que tiene una serie de barras acorde unidos a los amortiguadores, que, cuando se presiona, mute todas las cadenas distintas de las que forma el acorde deseado. A pesar de su nombre, no el arpa es un arpa en absoluto, sino una cítara acorde.

Existe un debate sobre el origen del arpa. Un inmigrante alemán en Filadelfia con el nombre de Charles F. Zimmermann fue galardonado con EE.UU. 257.808 en 1882 para el diseño de un instrumento musical que incluyó mecanismos para silenciar ciertas cadenas durante el juego. Llamó a su invento el arpa. [3] A diferencia de autoharps posteriores, la forma del instrumento era simétrica, y las barras de soporte de fieltro mueve horizontalmente contra las cuerdas en lugar de verticalmente. No se sabe si alguna vez Zimmermann producido comercialmente cualesquiera instrumentos de este diseño temprano. Karl August Gütter de Markneukirchen, Alemania, construyó un modelo que él llamó un Volkszither, lo que más se parece el arpa juega hoy. Gütter obtuvo una patente británica para su instrumento, circa 1883-1884. Zimmermann, después de regresar de una visita a Alemania, comenzó la producción del diseño Gütter en 1885, pero con su propio número de patente de diseño y nombre pegadizo. Gütter diseño del instrumento se hizo muy popular, y Zimmermann ha sido a menudo confundido con el inventor.

Marca

El Autoharp término fue registrado como marca en 1926. [4] La palabra está reivindicado como marca por EE.UU. Music Corporation, cuyo Oscar Schmidt división fabrica Autoharps. [Cita requerida] El registro USPTO, sin embargo, cubre sólo una "Dibujo Marcos Código (5) palabras, letras y / o números en forma estilizada "y ha expirado. [5] En los litigios con George Orthey, se sostuvo que Oscar Schmidt sólo podría reclamar la propiedad de la letra estilizada del Autoharp palabra, el término sí mismo de haber movido a ser de uso general.

Si bien el arpa es a menudo considerado como un instrumento de ritmo para jugar acompañamiento de cuerdas, los jugadores modernos pueden tocar melodías en el instrumento. Jugadores diatónicas son capaces de tocar melodías de violín mediante el uso de técnicas acordes abiertos, "bombeo" de los botones del amortiguador al recoger las cuerdas individuales. Calificados jugadores cromáticas pueden realizar una serie de melodías.

Diatónicamente encadenan los instrumentos individuales clave de luthiers hoy en día como Orthey, Fladmark, Hollandsworth, Aigle D', Baker, Daniels y Acres Goose son conocidos por su sonido exuberante. Esto se consigue al doblar las cuerdas de notas individuales. Puesto que las cuerdas de notas no en la escala diatónica no necesitan aparecer en el cordaje, el espacio extra resultante se utiliza para las cuerdas duplicado, dando como resultado menos cadenas amortiguadas. De dos y tres teclas diatónicas comprometer el número de cuerdas se duplicó para tener la posibilidad de jugar en dos o tres teclas, y para permitir alteraciones que contienen melodías, que de otra manera no podrían ser prestados en un arpa sola tecla. Un arpa de tres llaves en el círculo de quintas, como un GDA, a menudo se llama un festival de arpa o fogata, ya que el instrumento puede acompañar juguetea alrededor de una fogata en un festival en sus teclas favoritas.

Eléctrica autoharp

Hasta la década de 1960 no había pastillas para amplificar el autoharp que no sea un micrófono de contacto rudimentaria, que tenía una mala calidad, sonido metálico. Finalmente, un pickup magnético bar fue diseñado por Harry DeArmond, y fabricado por Industrias Rowe. Roger Penney Triángulo de las Bermudas Band fue el primero en introducir el arpa eléctrica al público, según lo citado en un artículo de Variety de 1968. [7] En la década de 1970 Oscar Schmidt salió con su sensor magnético propio.

Se muestra a la derecha es de 1930 reacabado Oscar Schmidt Modelo Inc. "A". Esta arpa tiene 2 pastillas DeArmond magnéticos (una debajo de las barras de acordes), con un mecanismo de ajuste fino, y el conjunto de barra de acordes, y fue utilizado en un 1968 MGM / Patrimonio grabación Registros por Euphoria.

Una versión sintetizada del arpa, el Omnichord, fue introducido en 1981 y que ahora se conoce como el Q-Chord, que se describe como una "guitarra digital songcard".

Ejecutantes notables

Autoharps se han utilizado en los Estados Unidos como bluegrass y los instrumentos populares, quizás el más famoso por Maybelle Carter, Carter Sara, Helen Carter y June Carter, toda la familia Carter. Son relativamente fáciles de aprender a jugar como un instrumento de ritmo, pero ofrecen grandes recompensas al jugador más comprometido como un instrumento melódico. Grand Ole Opry estrellas Cecil Null fue el primero en desarrollar el estilo vertical para tocar el arpa que a su vez fue utilizado por la familia Carter.

Nieta Maybelle Carter Carlene Carter con frecuencia interpreta el arpa en el escenario y en sus grabaciones, su canción "Me and the Rose Wildwood", un homenaje a su abuela, hace un uso prominente del arpa.

Fuera de bluegrass y la música country, tanto acústico y eléctrico arpa se usa ocasionalmente en las zonas influenciadas folk-1960s/1970s finales de rock progresivo, psicodelia y géneros relacionados por ejemplo, Génesis, renacentista y Led Zeppelin.

Sylvia Tyson de Ian & Sylvia contó con la arpa en una serie de grabaciones, como "You Were On My Mind".
Angel Rada la usó en la Banda de Rock Venezolana GAS LIGHT en varios temas despues de ver la actuación de Jhon Sebastian en la Banda de Rock estadounidense LOVIN' SPOONFUL y aun hoy en dia la usa para algunos de sus temas musicales de sus albums.

Varios Lovin 'Spoonful canciones cuentan con el arpa de juego de Juan Sebastián, como "Do You Believe in Magic" y "Usted no tiene que ser tan agradable". También jugó en 1979 la canción Randy hit VanWarmer Justo cuando más te necesitaba.

Versión Musical de Jeff Wayne de La Guerra de los Mundos 'partitura incluye una pieza para arpa.

Janis Joplin también tocaba el arpa, que se puede escuchar en la grabación temprana, inédita "So Sad to Be Alone". 

Músico británico PJ Harvey jugó el arpa en su álbum de 2004 Uh Huh Her, específicamente en la canción "Los días más oscuros de Me & Him"). Su álbum White Chalk 2007 también cuenta con el instrumento en muchas pistas. Ella también escribió y grabó la mayor parte de su más reciente álbum Let England Shake en el arpa.

La cantante canadiense compositora Basia Bulat, es un usuario conocido de la Autoharp, utilizándolo tanto en directo como en su material de grabación, en particular, su Corazón álbum 2010 de la mía.

La cantante británica Corinne Bailey Rae compositor juega regularmente el arpa y compuso la canción "The Sea", de su Premio Mercurio 2010 nominado álbum llamado "The Sea" con acordes que componen el arpa. 

EE.UU. banda Midlake utilizar un arpa en el álbum El coraje de los otros.

Nueva York, la banda de Billy Nayer Mostrar usos autoharp un lugar destacado en su música.

Marc Gunn, un artista celta, utiliza el arpa en casi todas sus canciones.

Dolly Parton vez en cuando toca el arpa en el escenario.

Comics artista y músico Chico Anonymous juega el arpa para su banda de punk rock de las espinas.

Kyle Siptroth, conocido por su música folclórica Apalache estilo, es muy popular en la región Midatlantic. Él apareció con John McCutcheon en 1996 en Tampa, FL.

Reino Unido cantante / compositor Tracey Thorn juega autoharp en su single "Why Does The Wind", donde también se ve jugando en el video. Además juega autoharp en varias canciones en los álbumes "Amor y su opuesto" y "Oropel y Luces".