Buat rekan2 yang suka bermain keyboard.. gak ada salahnya menggunakan software EMC STYLE WORKS XT UNIVERSAL ATAU EMC STYLE WORKS 2000,

software ini di tujukan untuk mengconvert style dari berbagai merk keyboard, yang tentunya juga memiliki kekurangan…
software ini, juga bisa membuat style dari song midi… dan penggunaannya juga mudah.. akan tetapi hasil yang di peroleh dari pembuatan style keyboard menggunakan software ini, tidaklah sempurna. dan saya anjurkan untuk langsung membuat style di keyboard…. berikut preview nya

Style Converter Song to Style Converter Style Editor Import/Export

The unique program series for the conversion and creation of music styles

EMC Style Works XT

These are the most important features of our programs:

Style Converter – for the conversion of other keyboards’ styles for your instrument; you get access to all styles on the market, even to those which were not produced for your instrument.

Song to Style Converter – for the creation of styles from midifiles; you miss a suitable accompaniment pattern for a specific song? No problem – load the song midifile into the Song to Style Converter and “cut” the rhythm from the song data.

Style Editor – for fast and efficient modification of your style data. Alter volumes, sound assignments and transpositions, even for several tracks at once.

Import/Export module – here you can create a midifile from any style. So you may now use all the sophisticated functions of your sequencer program even when editing styles, just as if it was a GM song.

The single versions (e.g. Style Works XT Yamaha, Style Works XT Roland) provide working in the format of the relevant manufacturer, i.e. you can convert the styles of almost any other keyboard to e.g. Yamaha and create styles from midifiles for Yamha.
Style Works XT Universal is nothing less then the summary of all 8 single programs into one and provids conversion between all formats and the creation of styles from midifiles in all formats.

Single versions are available for:
Technics * Roland * Korg * Solton * Yamaha * Wersi * Generalmusic * Kawai

The main functions are practically the same in all versions, so the subsequent description will be valid for any of the programs

Main page of Style Works XT Universal:

Select the desired destination format and the program module which like to work in. The Play Style module provides playback functions in order to listen to all style parts by the soundcard of your PC. It is available at any time no matter in which of the modules you are.

> other modules

More information about the program modules:

The Style Converter

Here you can convert other keyboards’ styles into the format of your instrument. The style structure will be completely transferred, sounds and drum map will be recalculated as well. Simply select a source format, click the desired style and the conversion will be executed immediately, then save the result to disk. You can affect the conversion by selecting various options (depending on source and destination format).
You can even convert entire folders with styles in one operation

The following formats can be read
– Keyboards –
Technics KN800/770, 1000/750, 2000/1200/901, 3000/3500/1500/920, 5000, 6000/6500, 7000
Roland E-66/86/96/RA-95, E-600/500/300/KR-570, G-800/600 RA-800, G-1000/EM-2000, VA-76/7/5, EXR-series, G-70, E-80/60/50, GW-8, Prelude, Atelier organs
Korg i1-i5 series, ix300, i30-i50 series, Pa80/60/50, Pa1X/Pro, Pa800, Pa2X
GEM WS2/400, WX2/400, WK2/3 4/6/8, Genesys/Pro
Wersi Pegasus/Performer/PhonX (“alt” and “+”-series), Golden Gate, OAS-System (Abacus etc.)
Solton MS 3/4/5, MS 40/50/60/100 Ketron X1/X4, SD1, XD3/XD9, Midjay, SD5
Yamaha SFF kompatible (Tyros/2, PSR-9000/740/640 … 8000/7000/730/630 etc., CLP)
Kawai Z 1000, CP Piano series

Of course you can listen to the result in the Play Style module first or even modify the new style in the Style Editor. You may set your own part assign map as well.

> other modules

The Song to Style Converter

Here you can create a style from a midifile easily. When loading the midi data the tracks will be automatically separated into the categories DRUMS, BASS, CHORD, PAD and MELODY (by criteria like note length, number and polyphony). Then Style Works will set a start bar will for each style part automatically. Of course you can do this manually as well, i.e. for each part you can define which section of the song will become which style part (e.g. Intro will be taken from bar 1 -9, Variation 1 from 10 with a length of 4 bars etc.). By clicking the button showing the part name you can listen to new style part as if you would play it in C on your keyboard.
An important setting is the Part type parameter.
- Neutral: all chord changes will be removed and you will get a part for universal use (normally the best setting for the “main parts”, i.e. “Variation”, “Main”, “Arrangement” etc.
- Playback: the original chord settings are being maintained, only a general transposition is being executed in order to adapt the part to the basic key of C. This is the standard setting for Intros, Fills and Endings.

By clicking the relevant “Detaills” button you get into this part’s Part Editor where you can set various parameters for each track and make use of further efficient tools in order to make the result perfect.

> other modules

The Style Editor

In the Style Editor you can modify your styles no matter if the style is an original one from your keyboard, has been converted or created from a midifile.
Depending on the structure of the instrument you will always find the matching tracks grouped on one page (e.g. all Intros of a Yamaha Tyros style). Modifications can be executed even for several tracks or several parts at one time (e.g. for all bass tracks in all style parts).

What can be modified?

Level “Parts”:
Style Parts can be copied, swapped or deleted. Further you can alter the length of a style part (what is impossible with most keyboards) .

Level “Tracks”:
These parameters can be modified for each track individually:
- sound assignment, velocity, octave, quantize, shift (time axis)
- all control events like Volume, Expression, Reverb etc (if available in the relevant style format)
- device specific parameters (e.g. the CASM parameters of the Yamaha Style File Format)
- tracks can be copied, swapped and deleted
- Editor for modifying of single events (Event List).

> other modules

The Import/Export Module

By using this module you can work with all the comprehensive functions of your sequencer program when editing or recording styles. Export your style first, execute the desired changes and then import it again to a any part of your style.
Choose whether to save (or load) just style parts as single midifile/s or all parts together in one big midifile.

SUMBER :http://www.emc-musicsoftware.de/eng-shop/eng-dscstw.htm#Top


Setelah sukses dengan seri kontrolernya Traktor Kontrol X1, perusahaan pembuat software Traktor, Native Instruments, meluncurkan kontroler baru untuk software buatannya yang diberi nama Traktor Kontrol S4.

Kontroler baru ini dilengkapi dengan software Traktor terbaru yaitu Traktor Pro S4 yang memang didesign khusus untuk alat ini. Dengan 4 channel mixer dan soundcard 24bit / 96khz terintegrasi yang mempunyai kualitas setara dengan perangkat Audio 4 DJ, beberapa tombol untuk mengontrol looping, cueing, track browsing dan kontrol efek. Alat ini akan menjadi kontroler pertama dari Native Instruments dengan fungsi paling lengkap.

Berikut ini adalah beberapa top features yang dimilikinya :

Quote
Highly integrated 4-deck TRAKTOR controller and flagship software
Plug & play – all you need to start mixing is your computer and MP3s
4-channel mixer with ergonomic layout, 2 high-res jog wheels
2 analog inputs with phono and mic preamps for hooking up turntables, CD players or external audio gear
TRAKTOR PRO S4 software – pro features, supreme usability; features 4-deck mixing and effects, plus all-new Sample Decks and a powerful Loop Recorder
2 customizable FX units with 28 performance effects for adding your own trademark sound
Powerful MP3 management with iTunes® integration and iPod® compatibility
Built-in 24bit/96 kHz soundcard features pristine, award-winning audio quality
All components designed by the same team – precision German engineering
Includes 40 original loops and 10 full tracks from the world-famous Loopmasters Studio

Traktor Kontrol S4 dikabarkan adalah jawaban Native Instruments kepada Allen n Heath Xone DX yang membundle software saingannya yaitu Serator ITC. Alat ini akan dilepas kepasaran sekitar USD $999.

Sumber : Ravelex.net


Steinberg’s Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer and effect plugins with audio editors and hard-disk recording systems. VST and similar technologies use Digital Signal Processing to simulate traditional recording studio hardware with software. Thousands of plugins exist, both commercial and freeware, and VST is supported by a large number of audio applications. The technology can be licensed from its creator, Steinberg.
Contents [hide]
1 Overview
2 History
3 VST plugins
4 VST hosts
4.1 Software
4.2 Hardware
4.3 VST plugin standard
5 Presets
6 Competing technologies
7 Programming languages
8 See also
9 References
10 External links
[edit]Overview

VST plugins are generally run within a Digital Audio Workstation, providing the host application with additional functionality. Most VST plugins can be classified as either instruments (VSTi) or effects, although other categories exist. VST plugins generally provide a custom GUI, displaying controls similar to the physical switches and knobs on audio hardware. Some (often older) plugins rely on the host application for their UI.
VST instruments include software simulation emulations of well-known hardware synthesizer devices and samplers, emulating the look of the original equipment and its sonic characteristics. This enables VSTi users to use virtual versions of devices that may be otherwise difficult to obtain.
VST instruments require notes to be sent via MIDI in order to output audio, while effect plugins process audio data (some effect plugins do require a MIDI input too though, for example they might use MIDI sync to modulate the effect in sync with the tempo). MIDI messages can often also be used to control parameters of both instrument and effect plugins. Most host applications allow the audio output from one VST to be routed to the audio input of another VST (known as chaining). For example, output of a VST synthesizer can be sent to a VST reverb effect for further processing.
[edit]History

The VST interface specification and SDK was released in 1996. Coinciding was the release of Steinberg Cubase 3.02. Included with Cubase were the first available VST format plugins. Espacial, Choirus, Stereo Echo and Auto-Panner.[1]
The VST interface specification was updated to version 2.0 in 1999. One of the additions was the ability for plugins to receive MIDI data. This allowed for the introduction of VSTi (Virtual Studio Technology Instrument) format plugins. VST Instruments can act as standalone software synthesizers, samplers or drum machines.[2]
Neon[3] was the first available VST Instrument (included with Cubase VST 3.7). It was a 16-voice, 2-oscillator virtual analog synthesizer.[4]
The VST interface specification was updated to version 2.4 in 1999. Changes included the ability to process audio using 64 bit precision.[5]
The VST interface specification was updated to version 3.0 in 2008. Changes included:[6]
Audio Inputs for VST Instruments
Multiple MIDI inputs/outputs
Optional SKI (Steinberg Kernel Interface) integration
[edit]VST plugins

There are three types of VST plugin.
VST instruments generate audio. They are generally either virtual synthesizers or samplers. Some, such as Native Instruments’ Pro-53, specifically recreate the look and sound of famous synthesizers from years past (in this case, the Prophet-5).
VST effects, such as reverb and phaser effects, process audio input. Other monitoring effects provide visual feedback of the input signal without processing the audio. Most hosts allow multiple effects to be chained.
VST MIDI effects process MIDI messages prior to routing the MIDI data to other VST instruments or hardware devices; for example, to transpose or create arpeggios.
[edit]VST hosts

A VST host is a software application or hardware device that allows VST plugins to be loaded and controlled. The host application is responsible for handling the routing of digital audio and MIDI to and from the VST plugins.
[edit]Software
There is a wide range of VST hosts available, including the following:
Ableton Live
ACID Pro
Adobe Audition
Adobe Premiere Elements
Adobe Premiere Pro
Ardour
AudioMulch
Bidule
Steinberg Cubase
Steinberg Nuendo
FL Studio
Kore
LMMS
Max MSP
Mixcraft
Podium
REAPER
Renoise
Samplitude
Sonar
There are also stand-alone “dedicated hosts” whose sole purpose is to serve as a host for the VST plugins rather than as an extension of their sequencing or audio capabilities. These are usually optimized for live performance use, with features like fast song configuration switching. Examples of popular dedicated VST host software include:
Cantabile
Brainspawn Forte
Tobybear MiniHost
Deckadance
Chainer
VSTHost
SAVIHost
VST plugins can be hosted in incompatible environments using a translation layer, or shim. For example, FL Studio fundamentally supports only its own internal plugin architecture, but a native “wrapper” plugin exists that can, in turn, load VST plugins, among others. As another example, FXpansion offers a VST to RTAS (Real Time AudioSuite) wrapper (allowing VST plugins to be hosted in the popular Pro Tools digital audio workstation), and a VST to Audio Units wrapper (allowing VST plugins to be hosted in Apple Logic Pro Digital Audio Workstation).
[edit]Hardware
Hardware VST hosts can load special versions of VST plugins. These units are portable and usable without a computer, although all editing is done on a computer. Other hardware options include PCI/PCIe cards designed for audio processing, which take over audio processing from the computer’s CPU and free up RAM. Examples of hardware VST hosts are RECEPTOR (Muse), Plugzilla and V-Machine (SM Pro Audio).
Audio data can also be sent over a network using appropriate software, allowing the main host to run on one computer and VST plugins to run on peripheral computers.
[edit]VST plugin standard
The VST plugin standard is the audio plugin standard created by Steinberg to allow any third party developers to create VST plugins for use within VST host applications. VST requires separate installations for Windows, Mac OS X and Linux. The majority of VST plugins are available for Windows due to both Apple’s proprietary Audio Unit software for OS X and the lack of information and patent encumbrances that make development difficult for Linux platforms.
[edit]Presets

VST plugins often have many controls, and therefore need a method of managing presets (sets of control settings).
Steinberg Cubase VST introduced two file formats for storing presets: an FXP file stores a single preset, while an FXB file stores a whole bank of presets. These formats have since been adopted by many other VST hosts, although Cubase itself switched to a new system of preset management with Cubase 4.0.
Many VST plugins have their own method of loading and saving presets, which do not necessarily use the standard FXP/FXB formats.
[edit]Competing technologies

Apple Computer’s Audio Units
Digidesign’s Real Time AudioSuite
Digidesign’s TDM
LADSPA, DSSI and LV2 for Linux
Microsoft’s DirectX plugin
MOTU’s MAS
[edit]Programming languages

Steinberg’s VST SDK is a set of C++ classes based around an underlying C API. The SDK can be downloaded from their website.
There are several ports available, such as a Delphi version by Frederic Vanmol, a Java version from the jVSTwRapper project at sourceforge.net, and a .NET version – Noise. Another .NET implementation is VST.NET. This open source project also includes a framework which makes creating VST plugins easier and result in more structured code. VST.NET also provides support for writing managed host applications with a managed class that allows loading an unmanaged Plugin. A notable language supporting VST is Faust considering that it is especially made for making signal processing plugins, often producing code faster than hand-written C++.
In addition, Steinberg have developed the VST GUI, which is another set of C++ classes, which can be used to build a graphical interface. There are classes for buttons, sliders and displays etc. Note that these are low level C++ classes and the look and feel still have to be created by the plugin manufacturer.
A large number of commercial and open-source VSTs are written using the JUCE C++ framework instead of direct calls to the VST SDK, because this allows multi-format (VST, AudioUnit and Real Time AudioSuite) binaries to be built from a single codebase.
[edit]See also

Software synthesizer
Digital audio workstation
LADSPA and LV2, similar open source standards.
Audio Units, a similar standard by Apple Inc..
SynthEdit, a VST/VSTi editor.
Software effect processor

sumber : wikipedia


Setelah Beberapa taun ini saya melihat perkembangan Entertainment, khususnya di dunia malam,,, saya meilhat beberap faktor yang sangat menonjol dengan kehadiran seorang Disc Jockey, Dj ataupun biasa di sebut Deejay…
Sebagai contohnya saya melihat beberapa sekolah Dj yang semakin menjamur atau semakin banyak berdiri, baik sifatnya independent maupun team… seperti NUSPECTRA DJ TEAM yang berada di kota malang – jawa timur, dan telah melahirkan banyak pentolan Dj yang mampu bersaing dan berkiprah di dunia entertainment…

apa itu DISK JOCKEY ???
DISK JOCKEY adalah orang yang memainkan atau memutar file yang berformat audio, dengan menggunakan prangkat seperti CDJ,TURNTABLE, ataupun menggunakan Laptop…
tp sekarang seiring perkembangan DJ semakin ramai, maka banyak pabrikan prangkat Dj mengeluarkan produk baru, yang mana tidak hanya sekedar memutar file audio, tp juga mampu memutar file visual..

DISK JOCKEY di bagi menjadi beberapa kategori :
1.DJ Radio
2.Dj Bedroom
3.Dj Club

tp disini saya membagi lagi dengan pemikiran saya, bahwa DJ hanya bisa di kategorikan menjadi 2..

1. Dj Profesional
2. Dj Instant atau karbitan..

1. Dj Profesional : adalah Dj yang memilki dasar sekolah Dj, di mulai dari tahapan Turntable atau PH..kenapa, karena tingkat kesulitannya tinggi.. mengetahui teknik Dj, Effect, serta mampu mengetahui digital musik, serta urutan genre..

2. Dj Instant : adalah Dj yang system belajarnya secara cepat, dengan menggunakan CDJ ataupun Software Dj… (maaf kalau ada yang tidak berkenan) :)

TECHNIC DJ
Ada berbagai macam teknik yang dapat diterapkan oleh seorang DJ untuk memanipulasi musik yang telah direkam sebelumnya. Disini termasuk mencampur suara (audio mixing), cueing, slip-cueing, phrasing, memotong musik (cutting), beat juggling, menggesek ( scratching), menyamakan ketukan (beatmatching), menjatuhkan jarum (needle drops), menggeser fasa (phase shifting), dan masih banyak lagi.

PERALATAN DJ
CD (data storage audio), media player, mixer, tas cd, headphone, laptop, soundcard

Urutan genre DISC JOCKEY atau DJ (deejay)

Acid Jazz
All Styles
Breaks (all types)
Breaks, Acid
Breaks, Big Beat
Breaks, Chemical
Breaks, Funky
Breaks, House
Chill Out
Dubstep
Electro
Electronica
Experimental
Gabber
Hardcore
Hardstyle
Hip Hop
House (all types)
House, Acid
House, Chicago
House, Deep
House, Disco
House, Dub
House, French
House, Funky
House, Hard
House, Minimal
House, Progressive
House, Speed Garage
House, Tribal
House, Turkish
House, Vocal
Industrial
Jungle (all types)
Jungle, Drum & Bass
Jungle, Hardstep
Jungle, Intelligent
Jungle, Jazz
Jungle, Jump Up
Jungle, Techstep
Techno (all types)
Techno House
Techno, Detroit
Techno, Minimal Deep
Techno, Minimal Hard
Trance (all types)
Trance, Acid
Trance, Breaks
Trance, Goa
Trance, Hard
Trance, Progressive
Trip Hop

ini hanya femikiran saya semata, maaf kalau ada yang tidak berkenan, maupun kurang lengkap.. karena saya juga buka seorang deejay tp hanya pononton saja..

salam
:)
Ferry Siregar


Jordan Rudess (born Jordan Charles [1][2] Rudes on November 4, 1956) is an American keyboardist best known as a member of the progressive metal band Dream Theater and the progressive rock supergroup Liquid Tension Experiment.
Contents [hide]
1 Biography
2 Use of technology
3 Equipment
3.1 Studio equipment
3.2 Virtual instruments
3.3 Live Rig
4 Discography
4.1 Solo albums
4.2 Dream Theater
4.3 Project albums
4.4 Liquid Tension Experiment
4.5 Guest appearances
4.6 Other
5 References
6 External links
[edit]Biography

Rudess was born in 1956 into a Jewish family. He was recognized by his 2nd grade teacher for his piano playing and was immediately given professional tuition. At nine, he entered the Juilliard School of Music Pre-College Division for classical piano training, but by his late teens he had grown increasingly interested in synthesizers and progressive rock music. Against the counsel of his parents and tutors, he turned away from classical piano and tried his hand as a solo progressive rock keyboardist.[3]
After performing in various projects during the 1980s, he gained international attention in 1994 when he was voted “Best New Talent” in the Keyboard Magazine readers’ poll after the release of his Listen solo album. Two of the bands who took notice of Rudess were The Dixie Dregs and Dream Theater, both of whom invited him to join. Rudess chose the Dregs, primarily as being a part time member of the band would have less of an impact on his young family, a choice he was not given with Dream Theater.[4]
During his time with the Dregs, Rudess formed a “power duo” with drummer Rod Morgenstein. The genesis of this pairing occurred when a power outage caused all of the Dregs’ instruments to fail except Rudess’, so he and Morgenstein improvised with each other until power was restored and the concert could continue. The chemistry between the two was so strong during this jam that they decided to perform together on a regular basis (under the name Rudess/Morgenstein Project or later RMP) and have since released a studio and a live record.
Rudess encountered Dream Theater once again when he and Morgenstein secured the support slot on one of Dream Theater’s North American tours.
In 1997, when Mike Portnoy was asked to form a supergroup by Magna Carta Records, Rudess was chosen to fill the keyboardist spot in the band, which also consisted of Tony Levin and Portnoy’s Dream Theater colleague John Petrucci. During the recording of Liquid Tension Experiment’s two albums, it became evident to Portnoy and Petrucci that Rudess was what Dream Theater needed. They asked Rudess to join the band, and when he accepted they released their then-keyboardist Derek Sherinian to make way for him.
Rudess has been the full-time keyboardist in Dream Theater since the recording of 1999′s Metropolis Pt. 2: Scenes from a Memory. He has recorded five other studio albums with the group: 2002′s Six Degrees of Inner Turbulence, 2003′s Train of Thought, 2005′s Octavarium, 2007′s Systematic Chaos, and 2009′s Black Clouds & Silver Linings. In addition, he has appeared on the live albums Live Scenes From New York, Live at Budokan, Score and Chaos in Motion.
In addition to working with Dream Theater he occasionally records and performs in other contexts, such as a 2001 one-off duo performance with Petrucci (released as the CD An Evening With John Petrucci and Jordan Rudess), as well as backing up Blackfield on their first short US tour in 2005 and playing a solo opening slot for them on their second in 2007.
Rudess says his influences as a keyboardist are Keith Emerson, Rick Wakeman and Patrick Moraz.[5]. His favorite musical artists and groups include Gentle Giant, Yes, Genesis, Pink Floyd, Emerson, Lake & Palmer, King Crimson, Jimi Hendrix, Autechre, and Aphex Twin.[6].
[edit]Use of technology

While many keyboard players in progressive rock tend towards bringing numerous keyboards on stage, creating large racks of keyboards, Rudess took full advantage of the possibilities offered by the Kurzweil K2600xs during his live usage of the keyboard from the 1990s to 2004. Often sampling sounds from other keyboards he owned, Rudess creates a series of “setups”, each of which maps different sounds to different layers and key ranges of the keyboard controller; these setups are then arranged in the order they will be required for a gig, and cycled through one at a time with a footswitch (a control pedal placed on the floor underneath his keyboard). He often maps sounds to exact notes on the keyboard to avoid playing chords on sounds that are meant to be monophonic and to create realistic percussion sounds under the pitched sounds he is playing.
While Rudess’ physical method of changing live setups will more than likely remain the same, his choice of hardware to implement this changed as of 2005. Citing a need for better tour support and more current technologies (his Kurzweil K2600XS’s maximum sample memory of 128 MB had become insufficient for his touring needs), Rudess switched keyboard endorsements from Kurzweil to Korg’s new flagship Korg Oasys workstation (which can support up to 2 GB of sample memory [7]), which he first used on Dream Theater’s 2005-2006 20th Anniversary tour, along with a Muse Receptor hardware VST and a Haken Continuum X/Y/Z-plane MIDI Instrument triggering a Roland V-Synth XT and a Synthesizers.com Modular. Rudess is the first well known keyboardist to bring a Haken Continuum on to a live stage. Rudess still uses the Kurzweil for studio recordings and some of his most well known sounds, such as “the pig”, one of his signature sounds which is often played in unison with the guitar or bass guitar, were sounds from the K2600xs.
Since 2001, Rudess uses custom made rotating keyboardstands on stage for both Dream Theater and his solo career, which are built by Patrick Slaats from the Netherlands.[1] On Dream Theater’s 2007-2008 “Chaos in Motion” world tour, Rudess expanded his live setup with the addition of a Korg Radias, a Manikin Memotron,[8] and a Zen Riffer keytar. Rudess stopped using his Synthesizers.com modular after the European leg of the tour due to its size and weight. The synthesizer’s fate is unknown. During the Progressive Nation 2008 tour, he introduced on the stage a Kaoss Pad 3 for the closing medley.
For the 2009-2010 tour, in support of Black Clouds & Silver Linings, Jordan introduced the Apple iPod Touch on stage, running an application called Bebot Robot Synth.[9] He plays it during A Rite of Passage – both studio album and live versions of the song – and frequently uses it for improvised solos, like in Hollow Years’ intro and during a new instrumental section on Solitary Shell.
On September 24, 2010, Rudess released the song “Krump,” which was an electronica “single” released on iTunes. It featured the use of the new Roland Gaia, Roland’s more recent keyboard.
[edit]Equipment

[edit]Studio equipment
Korg OASYS (88 keys)
Korg Triton Extreme (88 keys)
Korg Radias
Haken Audio Continuum FingerboardRudess uses the upgraded full size model, which comes with inbuilt sounds as well as being used as a MIDI controller keyboard
Eigenharp
Muse Research Receptor
Kurzweil K2600X/S (88 keys)
Kurzweil K2000VP
Kurzweil K2600R
Kurzweil PC2R
Roland Fantom-X8
Roland Fantom G8
Manikin Memotron
Minimoog Voyager
Roland V-Synth XT
Roland V-Synth GT
Roland VP-550
Roland SH-01 GAIA
Roland SH-201
Synthesizers.com Modular synthesizer
Dave Smith Instruments Evolver Keyboard
Lap steel guitar
Harpejji by Marcodi Musical Products, LLC
Clavia Nord Wave
Dave Smith Instruments Prophet 08
Novation Supernova
Moog Little Phatty
Moogfooger Freq Box
Stylophone 350S
Yamaha Tenori-On
Apple Inc. iPod Touch
Apple Inc. iPad
PRS 6 string guitar
A bass guitar (manufacturer unknown)
Music Man John Petrucci 6 string guitars
Steinway & Sons model D Grand Piano
[edit]Virtual instruments
MOTU MachFive
MOTU MX4 Soft Synth
Korg Legacy Collection
Spectrasonics Omnisphere
Spectrasonics Atmosphere
Spectrasonics Trilogy
Spectrasonics Stylus
Native Instruments Komplete 2
Native Instruments Absynth
Native Instruments B4 Organ
Native Instruments Guitar Rig
Native Instruments FM7
Native Instruments Pro 53
Synthogy Ivory
Bebot Robot Synth for iPhone
Korg iElectribe for iPad
Looptastic for iPad
Magic Piano for iPad
JR Hexatone Pro for iPhone/iPod Touch
ThumbJam for iPhone/iPod Touch
Sampletoy for iPhone/iPod Touch/iPad
MorphWiz for iPhone/iPod Touch/iPad
[edit]Live Rig
Korg OASYS (88 keys) Dream Theater
Manikin Memotron Dream Theater
Korg Triton Extreme (88 keys) solo project
Korg KARMA solo project
Steinway grand piano solo project
Roland Fantom-G8 Liquid Tension Experiment and occasionally for Dream Theater’s studio work
Freehand Systems Music Pad Pro Often known to fans as the “scratch pad”, as he uses it to write down musical ideas. The sheet music for the entire live set is displayed on the pad for Rudess to refer to as he plays.
3x Roland V-Synth XT
Custom made rotating keyboardstands, by Patrick Slaats[2]
Lap steel guitar
Haken Continuum Fingerboard controls one Roland V-Synth XT and also controlled his modular synth.
Zen Riffer ZR2 keytar, which controls a Roland V-Synth XT like his continuum.
Apple Inc. iPod Touch
Apple Inc. iPad
Mackie 1604VLZ Pro Mixer
APS Power backup
Glyph and Iomega Hard drives
Korg Kaoss Pad 3
Muse Research Receptor
Synthesizers.com Custom Modular Synth currently retired, was used to play “On the run” and was also controlled by his continuum
Rudess has also been seen trying out a Moog Guitar at a trade show, whether he owns one is unknown.
[edit]Discography

[edit]Solo albums
Arrival (Cassette) (1988)
Listen (CD) (1993)
Secrets of the Muse (CD) (1997)
Resonance (CD) (1999)
Unplugged (CD) (2000)
Feeding the Wheel (CD) (2001)
4NYC (CD) (2002)
Christmas Sky (CD) (2002)
Rhythm of Time (CD) (2004)
Prime Cuts (CD) (2006, compilation)
The Road Home (CD) (2007, tribute album)
Notes On a Dream (CD) (2009)
[edit]Dream Theater
Metropolis Pt. 2: Scenes from a Memory (CD) (1999)
Live Scenes from New York (3CD) (2001)
Metropolis 2000: Scenes from New York (VHS/DVD) (2001)
Six Degrees of Inner Turbulence (2CD) (2002)
Train of Thought (CD) (2003)
Live at Budokan (2DVD/3CD) (2004)
Octavarium (CD) (2005)
Score (2DVD/3CD) (2006)
Systematic Chaos (CD) (2007)
Chaos in Motion (2DVD/3CD) (2008)
Black Clouds & Silver Linings (2009)
[edit]Project albums
Rudess/Morgenstein Project (CD) (1997)
An Evening with John Petrucci and Jordan Rudess (CD) (2000)
Rudess/Morgenstein Project – The Official Bootleg (CD) (2001)
[edit]Liquid Tension Experiment
Liquid Tension Experiment (CD) (1998)
Liquid Tension Experiment 2 (CD) (1999)
Spontaneous Combustion (CD) (2007, as Liquid Trio Experiment)
When the Keyboard Breaks: Live in Chicago (CD) (2009, as Liquid Trio Experiment 2)
Liquid Tension Experiment Live 2008 – Limited Edition Boxset (6CD/2DVD/1 Blu-ray) (2009)
[edit]Guest appearances
Vinnie Moore – Time Odyssey (1988)
Tom Coster – Did Jah Miss Me? (1989)
Annie Haslam – Blessing In Disguise (1994)
Nóirín Ní Riain – Celtic Soul (1996)
Kip Winger – This Conversation Seems Like A Dream (1997)
Rhonda Larson – Free as a Bird (1999)
Jupiter – Jupiter Project (1999)
Paul Winter and The Earth Band – Journey With The Sun (2000)
Scott McGill – Addition by Subtraction (2001)
Prefab Sprout – The Gunman And Other Stories (2001)
David Bowie – Heathen (2002)
Jupiter – Echo and Art (2003)
Neal Morse – ? (2005)
Daniel J – Losing Time (2005)
Neil Zaza – When Gravity Fails (2006)
John-Luke Addison – Multiple Valences
Behold… the Arctopus – Skullgrid (2007)
K3 – Under A Spell (2007)
Ricky Garcia – Let Sleeping Dogs Lie (2008)
Steven Wilson – Insurgentes (2008–2009)
[edit]Other
Speedway Boulevard – Speedway Boulevard (CD) (1981)
Various Artists – Romscape (1995)
Steinway to Heaven – Chopin’s “Revolutionary Etude (Op. 10, No. 12)” (1996)

sumber : wikipedia

Sejarah Perkembangan Synthesizer

Posted: Oktober 12, 2010 in Audio Digital

SEJARAH SYNTHESIZER

Tahun 1870 | Electromechanical Piano
Electromechanical Piano di ciptakan oleh Hipps, seorang director sebuah perusahaan telegraph dari Swiss.

Tahun 1906 | Telharmonium
Thadeus Ca hill menemukan Tell harmonium, sebuah music instrument yang sound-ya dihasilkan lewat sebuah dynamo.

Tahun 1920 | Tabung Vacum
Alat musik ( music instruments ) ini berbasiskan tabung hampa ( tube vacuum ) pertama di ciptakan oleh Leon Theremin yang berasal dari Russia. Sebelumnya tabung vakum ( tube vacuum ) nya sendiri sudah di patent-kan oleh Lee De Forest pada Tahun 1906

Tahun 1930 | Hammond Organ
Diciptakan pertama kali oleh Laurent Hammond, sejak pertama di perkenalkan, langsung mendapatkan sambutan yang luar biasa. Mulai th. 1935 music instrument ini di produksi massal ( mass product ). Cara kerja instrument ini berdasarkan 91 kipas generator electro magnetic, sehingga menghasilkan sound yang khas.

Tahun1940 | Vocoder
Homer Dudley berasal dari America, menciptakan sebuah instrument dimana sumber frequency sound-nya berasal dari suara manusia. Instrument ini dinamakan Vocoder ( Voice Operated Recorder ). Dasar-dasar Digital Recording yang berkembang hingga saat ini, adalah mengambil dari concept cara kerja instruments ini.

Tahun1952 | Synthesizer
Harry Olson dan Belar dari RCA Studio America Serikat adalah yang menemukan instrument ini. Cara kerjanya seperti computer yang berdasarkan kode biner ( binary code ).

Tahun 1960 | Moog
Adalah Prof. Robert Moog yang telah menciptakan instrument ini, dan berhasil sukses dalam penjualannya. Principe kerja Moog Synthesizer ini berdasarkan component transistor secara manual. Moog ini menjadi cikal bakal terlahirnya keyboard-keyboard dan synthesizer-synthesizer modern.

Tahun 1963 | melotron
Memasuki awal th. 60-an, cara kerja instrument electric mulai banyak yang bergeser dengan memanfaatkan IC ( Integrated Circuit) dan Melotron adalah salah satu yang berhasil mengembangkanya. Cara kerja nya, IC ( Integrated Circuit) sebagai perekam ( recorder ) sound atau di sebut dengan technique sampling sebagai sound generator-nya. Tehnik ini akhirnya di adopsi oleh synthesizer-synthesizer modern generasi berikutnya.

Tahun 1970 | Keyboard and Synthesizer
Mulai pada tahun ini Japan menguasai pasar music dunia dengan merk-merk andalan seperti Roland, Kawai, Korg, Yamaha. Yang di tonjolkan oleh product-product ini adalah simple dan gampang di operasikan.

Tahun 1971 | Electone
Produsen instrimen Yamaha membuat Elect one ( Electronic Tone ). Di buat dengan concept One Player Hand. Secara physic instruments ini mirip seperti Organ, namun di lengkapi dengan fitur Sound Banks, rhythm section, dimana irama atau beat-beat tertentu sudah ter-program secara built-in.

Tahun 1980 | Portasound
Yamaha kembali membuat kejutan dengan merilis Porta sound seri PSR 10. Alat ini bentuknya lebih sederhana dibandingkan dengan Elect one. namun memiliki fitur-fitur layaknya synthesizer professional. Pada era ini pengguna Keyboard Synthesizer mulai bergeser pada instrument jenis ini.

Tahun 1982 | MIDI
Pada Tahun ini di temukannya MIDI ( Musical Instrument Digital Interface ) atau Bahasa antar instruments. Pada awalnya para produsen memiliki standard pem-program-an sendiri-sendiri, sehingga masih ada kendala apabila ingin menghubungkan dua instrument musik dari produsen yang berbeda. Pada tahun berikutnya beberapa perusahaan seperti Korg, Roland, Sequential, Yamaha, Kawai, Oberheim, bersepakat untuk membuat standard MIDI, agar setiap instrument dapat di hubungkan secara MIDI dan masing-masing dapat memahami instruction-nya. Lalu standard ini di ikuti sebagian besar produsen instruments music di seluruh dunia.

Tahun 1983 | DX7
Synthesizer DX7 buatan Yamaha adalah yang mengawali suksesnya dalam menerapkan standard midi disertai fitur yang memungkinkan sebuah Synthesizer dapat di hubungkan dengan PC ( Personal Computer ). Karena keunggulanya, pada masa ini synthesizer DX7 banyak digunakan musician-musician dunia seperti Duran duran, A-ha, dsb. Pada era ini pula sebagian besar musician sedang di landa demam MIDI, kalo nggak midi nggak modern. Musician yang ikut andil dalam berkembangnya MIDI di Indonesia adalah Fariz RM, Aminoto kosin, dsb.

Tahun 1989 | PC
PC atau Personal Computer mulai pada masa ini berkembang cukup pesat, dunia music tak ketinggalan terkena dampaknya. Para produsen seperti Steinberg, Twelve tone System, Prophelhead, Ableton, Adobe, dsb. Mengembangkan berbagai jenis software musik sequencer, editing, atau player. Dan kini segala jenis pekerjaan music format Midi ataupun Audio dapat dilakukan cukup dengan memiliki sebuah PC atau Personal Computer.

Tahun 2000 | Virtual Instrument
Pengolah music ber-basic software semakin lama semakin berkembang, maka bermunculan Sound Module yang berbentuk software atau di kenal dengan Virtual Instrument. Produsen-porodusennya antara lain : IK Media dengan product-nya : Sample Tank, Sonic Synth, Microslav Philharmonic, etc. Native Instrument dengan produknya : FM7 ( DX7 software version ), FM 8, battery, Pro53, etc. atau Steinberg dengan product-nya : Halion, The Grand, Hypersonic, dsb. Tidakketinggalan para produsen seperti E-Mu yang sebelumnya membuat sound module hardware seperti Proteus, Planet earth, Virtuoso dsb. juga merilis versi Virtual-nya. Bahkan untuk memainkan CD Sampling AKAI tidak perlu lagi memakai Hardware, karena Halion, Sample tanks, V Sampler sudah compatible dengan format AKAI.

sumber :fadhil patchi facebook note
part of benjamin life

Sejarah Guitar

Posted: Oktober 10, 2010 in KELAS MUSIK

Gitar adalah suatu alat musik tradisional Spanyol sehingga dipercaya bahwa alat musik petik ini berasal dari spanyol. Tapi ada juga yang mengatakan bahwa sejarah gitar dimulai jauh sebelum Masehi yaitu pada jaman Babilonia. Pada awalnya alat musik ini bentuknya kecil dan memiliki empat dawai yang masing – masing berpasangan.
Selama jaman Renaissance, alat musik gitar tidak populer dan tidak diminati masyarakat. Namun setelah Alonso Mudarra mulai memperkenalkan alat musik ini melalui karya-karyanya maka dengan segera orang-orang mulai tertarik untuk mendengarkan dan memainkan gitar. Dan pada saat itu gitar mulai populer dikalangan masyarakat.

Pada abad 17 atau periode Baroque dawai (string) gitar ditambahkan menjadi lima yang masing-masing berpasangan, ini memungkinkan para pemain memainkan musik yang lebih kompleks dan luas.

Quote:
Pada akhir abad 17 dua perubahan penting dibuat pada alat musik ini yaitu:
1. Sebelumnya tiap-tiap dawai berpasangan (ganda) maka sekarang digantikan oleh senar tunggal.
2. Sebelumnya memiliki lima senar maka sekarang ditambahkan menjadi 6 senar tunggal yang dipakai hingga hari ini.

Periode klasik sekitar tahun 1750-1775 banyak melahirkan komposer-komposer gitar terkenal diantaranya Fernando Sor, Mauro Giuliani, Matteo Carcassi, D. Aguado dan Fernando Carulli. Mereka menulis musik dan sering mengadakan konser-konser gitar di berbagai tempat. Pada saat itu alat musik gitar sangat populer dan diminati banyak orang.
Selain itu ada juga Nicolo Paganini yang selain pemain biola terkenal juga pemain gitar yang karya-karyanya masih sering didengar sampai sekarang.
Pada akhir abad 19 instrumen gitar mengalami penurunan dan banyak orang tidak mengenal alat musik ini, tapi kemudian di populerkan kembali oleh Francisco Tarrega yang adalah komposer besar gitar klasik. Banyak karya-karya musiknya menjadi sangat terkenal antara lain: Recuerdos de la Alhambra, Estudio Brillante, Capricho Arabe dan masih banyak lagi.

Ia juga banyak menulis dan menyusun suatu metode/sistem untuk pengajaran gitar dan metode pengajarannya ini menjadi standar pengajaran pada pelajaran gitar klasik sampai sekarang. Ia juga banyak mengajar dan tidak sedikit dari muridnya yang menjadi komposer besar seperti dirinya diantaranya adalah Miguel Liobet.
Di samping komposer-komposer gitar ada juga seorang desainer gitar yang berjasa dalam perkembangan alat musik ini yaitu Luthier Antonio Torres. Ia mencoba menambah ukuran gitar dan mencoba meningkatkan bunyi gitar agar lebih keras dan selaras.

Ia banyak menyempurnakan bentuk gitar, dia membuat leher gitar lebih lebar dan lebih tipis dari pada bentuk gitar sebelumnya. Ia juga membuat standar dawai gitar dengan ukuran panjang 65 cm yang sampai sekarang masih di pakai. Dari hasil eksperimennya ini maka gitar yang dibuatnya ini merupakan standar gitar modern yang dipakai sampai sekarang. Selain Torres, sebelumnya juga ada seorang yang bernama stradivarius yang selain terkenal membuat biola juga mahir membuat gitar.
Pada tahun 1946 dawai/senar gitar yang sebelumnya terbuat dari Gut (tali yang terbuat dari usus binatang) digantikan dengan dawai yang terbuat dari nylon (string nylon). Dengan memakai string nylon maka suara yang dihasilkan lebih besar dan lebih bagus.

Alat musik gitar terus berkembang sampai sekarang dan sudah menjadi instrumen dunia. Jumlah para pemain, pengajar, komposer, dan pembuat gitar saat ini sangat banyak, sekolah-sekolah dan tempat kursus gitar juga mudah ditemui disetiap tempat bahkan sekarang juga terdapat majalah-majalah yang khusus membahas tentang gitar. Karena perkembangan ilmu dan teknologi begitu pesat, instrumen gitar juga terkena imbasnya dan sekarang kita telah mengenal yang namanya Gitar Listrik (Electric Guitar).

Sejarah Gitar Listrik
Sejarah gitar listrik bermula pada tahun 1930, ketika seorang yang bernama George Beauchamp mulai mencari cara untuk menambah volume gitar. Diketahui jika suatu kawat di beri gaya medan magnet maka dapat menciptakan arus listrik. Atas dasar pemikiran ini Ia meneliti dan mengadakan suatu percobaan dengan jarum Gramopon (pada dasarnya teknologi ini bisa didapati pada motor-motor listrik, generator, jarum gramopon, radio dan mic). Ia percaya bahwa jika dawai gitar digetarkan dekat medan magnet akan bisa diubah menjadi arus-arus listrik dan kemudian dikonversi kembali menjadi gelombang suara melalui speaker.
Setelah percobaan berbulan-bulan dan bekerja sama dengan Paul Barth maka terciptalah pickup pertama yang sederhana terdiri dari 6 kutub dan tiap-tiap kutub untuk masing-masing dawai. Pickup berisi kumparan yang digulung rapi. Menurut ceritanya, Ia mengambil kumparan itu dari mesin cuci dan melilitnya kembali dengan motor mesin jahit. Penemuannya ini sangat dihargai dan mendapatkan hak paten.

Dengan penemuannya ini maka langkah selanjutnya Ia mencari orang yang mau bekerja sama dan membantunya dalam soal dana. Ia menghubungi Adolph Rickenbacher temannya dulu di National String Instrument Company tempatnya bekerja. Mereka bekerja sama dan membentuk sebuah perusahaan dengan nama Instrumens Rickenbachers. Akhirnya Mereka mulai memproduksi gitar listrik pertama yang disebut “The Frying Pan” (mungkin karena badan gitarnya terbuat dari panci). Ini yang membuat perusahaan mereka tertulis dalam sejarah sebagai pabrik yang pertama membuat dan memproduksi gitar listrik.

Selanjutnya seseorang yang bernama Lloyd Loar memperkenalkan gitar listrik yang modelnya berbentuk gitar Spanyol. Ia dianggap yang pertama kali membuat dan memasarkan gitar model ini. Ia telah banyak melakukan percobaan-percobaan ini mulai awal 1920 dan pada tahun 1933 mendirikan perusahaan dengan nama Vivi-Tone yang merupakan anak perusahaan dari Gibson Company.

Perusahaan ini memproduksi gitar listrik dengan bentuk gitar spanyol tapi dalam satu tahun perusahaan ini tidak berhasil. Dari kegagalan ini, akhirnya mengilhami Gibson Company untuk mencoba melanjutkan menciptakan gitar listrik. Dari usaha-usaha yang dilakukan maka terciptalah gitar listrik ES-150 yang nantinya menjadi perintis gitar-gitar listrik selanjutnya.

Sejarah gitar listrik berlanjut pada tahun 1933 pada saat Alvino Rey yang juga bekerja pada Gibson Company mengembangkan Pickup gitar listrik yang lebih baik selain kualitas suara bentuknya juga diubah.
Di balik Kesuksesan ES-150 masih didapati banyak kekurangan, karena badan gitar yang berongga maka getaran dari badan gitar juga ditangkap pickup sehingga ikut terdengar pada amplifier. Selain itu sering terjadi feedback dan suara-suara yang tak diinginkan. Karena itu seorang gitaris jazz terkenal Les Paul memperkenalkan solusi baru untuk membuat badan gitar padat dan tak berongga.

Pada akhirnya Ia sukses membuat gitar badan padat dan menghasilkan suara yang bagus tanpa feedback atau suara-suara yang tidak dikehendaki. Selain itu Ia menambahkan pickup pada badan gitarnya menjadi dua. Pada tahun 1943 Ia membawa gitarnya ini ke Gibson tetapi ditolak dengan alasan konsumen kurang tertarik dengan gitar badan padat. Ia merasa kecewa karena usaha yang ia rintis akhirnya gagal.

Tidak lama kemudian seorang yang bernama Leo Fender percaya bahwa gitar yang dibuat oleh Les paul dengan gitar badan padatnya akan banyak diminati oleh para konsumen. Akhirnya pada tahun 1946 ia membuat gitar badan padat yang terbuat dari kayu pohon Ek dan menyewakannya kepada para musisi agar mendapat banyak dukungan. Akhirnya pada tahun 1949 Leo Fender mendapatkan kesuksesannya dengan model gitar badan padatnya dan mendapatkan penghargaan.

Melihat kesuksesan Leo Fender dengan gitar badan padatnya maka Gibson Company Akhirnya kembali melihat contoh gitar Les Paul dan mendisainnya ulang. Pada tahun 1952 diputuskan untuk memproduksi gitar badan padat dan menjadi suatu standar industri. Walaupun inspirasinya datang dari Les Paul gitar Gibson yang sekarang kita kenal dinamai menurut nama perusahaannya.

Pada tahun 1961 Ted McCarty memperkenalkan ES-335 suatu gitar semi-hollow yaitu gabungan antara gitar berongga dan gitar badan padat. Dengan cepat gitar ini menjadi populer digunakan para gitaris-gitaris jazz diantaranya adalah BB King dan Chuck Berry.

Gibson dan Fender adalah perusahaan pembuat gitar yang telah berjasa mengembangkan instrumen ini khususnya gitar listrik dengan disain-disain yang futuristik. Keduanya sudah menjadi standar gitar bagi para musisi, seperti sekarang kita mengenal Gibson SG atau Fender Stratocaster.Setelah kedua perusahaan tersebut telah berhasil mengembangkan gitar listrik, maka mulailah banyak bermunculan perusahaan-perusahaan lain yang memproduksi gitar listrik sampai sekarang.

Sumber : kaskusnews.us3