Phasing. A phaser is an electronic sound processor used to filter a signal by creating a series of peaks and troughs in the frequency spectrum.
The position of the peaks and troughs is typically modulated so that they vary over time, creating a sweeping effect. For this purpose, phasers usually include a low-frequency oscillator. Spectrogram of an 8-stage phaser modulated by a sine LFO applied to white noise. Great piano sounds? John, Welcome to the forum.
You've received some excellent advice from wrench45us. Having some experience with synthesizers and my search for the "perfect" digital/acoustic piano, I wouldn't expect either Dimension or Rapture to fill this role--that's not where their strengths lie. Dimension is excellent for looping and dance music. Best piano soft synth. Electronic Musician picked Akoustik Piano as the best in their review of soft pianos (a year ago, though) - over Ivory.
I'm sure Ivory is great, but Akoustik price dropped to $199 this year (NI seems to be getting more aggressive on pricing), so the difference in price is meaningful. Lots of pros seem to swear by Ivory, though. If you're lucky, you'll have friends who have the various software packages so you can try them out. If you're like most, though, you'll just to have to weigh the reviews and jump for one, for better or for worse. The Myth of Cross-Rhythm. At the center of a core of rhythmic traditions within which the composer conveys his ideas is the The is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter. In Anlo-Ewe cultural understanding, the is a highly developed systematic interplay of varying simulating the dynamics of contrasting moments or emotional stress phenomena likely to occur in actual human existence. As a preventive prescription for extreme uneasiness of mind or self-doubt about one's capacity to cope with impending or anticipated problems, these simulated stress phenomena or cross-rhythmic figures are embodied in the art of dance-drumming as mind-nurturing exercises to modify the expression of the inherent potential of the human thought in meeting the challenges of life.
Cross-Rhythmic Textures. From the earliest times, repertoires of cross rhythmic textures have been developed from which the composer draws in expressing his ideas. We will begin with the two most useful textures, six against four (6:4) and three against four (3:4), since they have the greatest use in the thematic development of dance-drumming. The student should learn to construct and discover the character of these cross rhythms and make them part of his way of thinking by the following exercises. i. Construct the main beats in the proper metrical grouping bearing in mind the inherent pulsations of each main beat.
Pareto principle. The Pareto principle (also known as the 80–20 rule, the law of the vital few, and the principle of factor sparsity) states that, for many events, roughly 80% of the effects come from 20% of the causes. Management consultant Joseph M.
Juran suggested the principle and named it after Italian economist Vilfredo Pareto, who observed in 1906 that 80% of the land in Italy was owned by 20% of the population; Pareto developed the principle by observing that 20% of the pea pods in his garden contained 80% of the peas. It is a common rule of thumb in business; e.g., "80% of your sales come from 20% of your clients". Mathematically, the 80–20 rule is roughly followed by a power law distribution (also known as a Pareto distribution) for a particular set of parameters, and many natural phenomena have been shown empirically to exhibit such a distribution. Diminishing returns. The law of diminishing returns (also law of diminishing marginal returns or law of increasing relative cost) states that in all productive processes, adding more of one factor of production, while holding all others constant ("ceteris paribus"), will at some point yield lower per-unit returns. The law of diminishing returns does not imply that adding more of a factor will decrease the total production, a condition known as negative returns, though in fact this is common.
For example, the use of fertilizer improves crop production on farms and in gardens; but at some point, adding more and more fertilizer improves the yield less per unit of fertilizer, and excessive quantities can even reduce the yield. A common sort of example is adding more workers to a job, such as assembling a car on a factory floor. At some point, adding more workers causes problems such as workers getting in each other's way or frequently finding themselves waiting for access to a part. Editing To BPM : Sony Vegas. How to Make a Hyperlink in a PDF File. Musical Composition, Theory and Songwriting: Minor Keys = Sad, dorian mode, raags. Expert: Clare Redfarn - 12/14/2007 QuestionWhy do we associate minor keys with sadness?
Do non-Westerners hear minor keys the same way? John Zorn programme on the BBC. Part 1. Additive rhythm and divisive rhythm. Additive and divisive meters.
A divisive (or, more commonly, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units; this can be contrasted with additive rhythm, in which larger periods of time are constructed by concatenating (joining end to end) a series of units into larger units of unequal length, such as a 5/8 meter produced by the regular alternation of 2/8 and 3/8 (London 2001, §I.8). When applied to meters, the terms "perfect" and "imperfect" are sometimes used as the equivalents of "divisive" and "additive", respectively (Read 1964,[page needed]).
For example, 4 may be evenly divided by 2 (4/2 = 2) or reached through repeatedly adding 2 (2 + 2 = 4), while 5 is only evenly divisible by 5 and 1 (5/2 = 2.5; 5/3 = 1.66) and may be reached by repeatedly adding 1 or 5 (2 + 2 = 4, 4 + 2 = 6; 3 + 3 = 6); thus 4/8 is divisive while 5/8 is additive.