描述：Quinto Sample Pack: These notes are the same for all samples in the pack and are the same for all three Sample Packs (Natal Quinto Conga and Tumbadora) beyond this point. > 1 in a set of 3 Natal congas, recorded individually with a Sure SM57 microphone placed very close to the skin of the drum. The signal went direct from the mic into a MOTU 828MKII. No mixing desk was used. The samples were taken and edited using Logic 7 in 24 bit resolution at a 96Khz sample rate. The recording was made after midnight, minimizing extraneous noise, as this was not made in a studio. Nevertheless there is a loud ringing sound somewhere in the region of 800Hz (you can measure it) after the louder notes. This is caused by the nature and contents of the tiled room. I have left plenty of space at the end of each sample for the ambiance to ring. If the user doesn't want the ring to be a featured then I suggest using the decay and sustain settings on a sampler's AHDSR generator or just chop them off and fade with a digital editor. I have not attempted to make easy loops etc these samples are for those who want something to programme creatively with. There are plenty of alternate takes of each sound, offering plenty of feel in a groove or simply alternative hits. The start points were edited to where the sample visibly began to rise above room silence. This is sometimes noticeably in advance of the strike as the playing hand pushes air past the microphone, which is very close to the action. This creates more feel and less regimented programming. That’s half the point. If you don’t like that then edit them tighter or buy a sample CD. You should be able to get something towards a live feel yet quantized if you want to. Just write your groove and shift the start time of the loop a few milliseconds backwards maybe. There may be noise of hands moving, breathing or whatever after the note as I have left plenty of sample time at the end. Take it or leave it. If you include the movement immediately after, it should link nicely with the following beat the way they are currently edited. Running the samples monophinicly per drum should do the trick and make the flow sound a bit more live than a stiff drum machine type effect. The SM57 really starts to do its thing with the louder notes, you can really hear the compressed effect. It behaves like an ear: The louder the sound, the bigger the buffer of compressed air against the diaphragm. There is no compressor in the chain and no postprocessing. Filenames with 'MoveHand' and 'MoveTap' are edits of taps on the drum changing pitch by moving the left hand or a finger of, which rests on the skin, to different positions, i.e. further from the centre of the drum each time. 'MoveHand' is what you hear between the taps. Other filename abbreviations: C Closed note (either whole hand resting in middle of drumhead or bouncing off it). H Heel note (a 'transit' or 'shuffle' note linking the louder notes the 'heeltip’ is a consecutive movement with the same hand) T Tip of the fingers usually played whilst heel is resting on drum: a 'grace' note or transit played as part of a flowing 'heeltip' movement O Open note; the full sound of a drum being played allowing the skin to resonate and the pitch to be clearly heard. The main note of the drum. M Mute or muffled note, made by striking just a little bit more toward the edge than for an open note and not releasing the hand. The skin must not resonate but the body of the drum must for full impact. This can be a surprisingly loud note, sometimes louder than an open note. Tap Left hand muting the drum by resting on it, left hand strikes the edge of the surface producing a small nutty sound, variable in pitch depending on the location of the left muting hand. aTum Tumbau (a dissection of) a Cuban rhythm sampled note for note and labeled aTum/bTum/cTum etc sequentially to indicate the order in the rhythmic motif played. This is not a traditional Tumbau but my own development using a Tap instead of a slap and played on a Quinto instead of more usually a Conga. z in the filename is my way of grouping sounds. In this case, as the open notes of a Quinto progress towards the edge of the drum, the sound gets lighter and changes character. The stick samples played on the conga (all with the right hand) are either on the fibre glass body, on the metal rim, a tuning lug or on the skin of the drum either open or with a finger of the left hand touching the skin to change the tone. These three drums could be played individually as in traditional music (rumba, conga, samba etc) or together by one player in a band. Solos might then involve all 3 drums. In AfroCuban Rumba: Tumba (dora) is the lowest and largest of the set of 3. The Mother drum. Calls the changes.Conga is the middle drum of the set of 3. Holds it down. Responds to the call.Quinto is the highest in the set of 3.Used for solos and punctuation. Tumbau (L)Heel/Tip/(R)Slap/(L)Tip/Heel/Tip/(R)Open/Open http://en.wikipedia.org/wiki/Conga Peace Dub Ramjac 2006 ramjacramjac.co.uk
描述：Quinto Sample Pack: These notes are the same for all samples in the pack and are the same for all three Sample Packs (Natal Quinto Conga and Tumbadora) beyond this point. > 1 in a set of 3 Natal congas, recorded individually with a Sure SM57 microphone placed very close to the skin of the drum. The signal went direct from the mic into a MOTU 828MKII. No mixing desk was used. The samples were taken and edited using Logic 7 in 24 bit resolution at a 96Khz sample rate. The recording was made after midnight, minimizing extraneous noise, as this was not made in a studio. Nevertheless there is a loud ringing sound somewhere in the region of 800Hz (you can measure it) after the louder notes. This is caused by the nature and contents of the tiled room. I have left plenty of space at the end of each sample for the ambiance to ring. If the user doesn't want the ring to be a featured then I suggest using the decay and sustain settings on a sampler's AHDSR generator or just chop them off and fade with a digital editor. I have not attempted to make easy loops etc these samples are for those who want something to programme creatively with. There are plenty of alternate takes of each sound, offering plenty of feel in a groove or simply alternative hits. The start points were edited to where the sample visibly began to rise above room silence. This is sometimes noticeably in advance of the strike as the playing hand pushes air past the microphone, which is very close to the action. This creates more feel and less regimented programming. That’s half the point. If you don’t like that then edit them tighter or buy a sample CD. You should be able to get something towards a live feel yet quantized if you want to. Just write your groove and shift the start time of the loop a few milliseconds backwards maybe. There may be noise of hands moving, breathing or whatever after the note as I have left plenty of sample time at the end. Take it or leave it. If you include the movement immediately after, it should link nicely with the following beat the way they are currently edited. Running the samples monophinicly per drum should do the trick and make the flow sound a bit more live than a stiff drum machine type effect. The SM57 really starts to do its thing with the louder notes, you can really hear the compressed effect. It behaves like an ear: The louder the sound, the bigger the buffer of compressed air against the diaphragm. There is no compressor in the chain and no postprocessing. Filenames with 'MoveHand' and 'MoveTap' are edits of taps on the drum changing pitch by moving the left hand or a finger of, which rests on the skin, to different positions, i.e. further from the centre of the drum each time. 'MoveHand' is what you hear between the taps. Other filename abbreviations: C Closed note (either whole hand resting in middle of drumhead or bouncing off it). H Heel note (a 'transit' or 'shuffle' note linking the louder notes the 'heeltip’ is a consecutive movement with the same hand) T Tip of the fingers usually played whilst heel is resting on drum: a 'grace' note or transit played as part of a flowing 'heeltip' movement O Open note; the full sound of a drum being played allowing the skin to resonate and the pitch to be clearly heard. The main note of the drum. M Mute or muffled note, made by striking just a little bit more toward the edge than for an open note and not releasing the hand. The skin must not resonate but the body of the drum must for full impact. This can be a surprisingly loud note, sometimes louder than an open note. Tap Left hand muting the drum by resting on it, left hand strikes the edge of the surface producing a small nutty sound, variable in pitch depending on the location of the left muting hand. aTum Tumbau (a dissection of) a Cuban rhythm sampled note for note and labeled aTum/bTum/cTum etc sequentially to indicate the order in the rhythmic motif played. This is not a traditional Tumbau but my own development using a Tap instead of a slap and played on a Quinto instead of more usually a Conga. z in the filename is my way of grouping sounds. In this case, as the open notes of a Quinto progress towards the edge of the drum, the sound gets lighter and changes character. The stick samples played on the conga (all with the right hand) are either on the fibre glass body, on the metal rim, a tuning lug or on the skin of the drum either open or with a finger of the left hand touching the skin to change the tone. These three drums could be played individually as in traditional music (rumba, conga, samba etc) or together by one player in a band. Solos might then involve all 3 drums. In AfroCuban Rumba: Tumba (dora) is the lowest and largest of the set of 3. The Mother drum. Calls the changes.Conga is the middle drum of the set of 3. Holds it down. Responds to the call.Quinto is the highest in the set of 3.Used for solos and punctuation. Tumbau (L)Heel/Tip/(R)Slap/(L)Tip/Heel/Tip/(R)Open/Open http://en.wikipedia.org/wiki/Conga Peace Dub Ramjac 2006 ramjacramjac.co.uk
描述：Quinto Sample Pack: These notes are the same for all samples in the pack and are the same for all three Sample Packs (Natal Quinto Conga and Tumbadora) beyond this point. > 1 in a set of 3 Natal congas, recorded individually with a Sure SM57 microphone placed very close to the skin of the drum. The signal went direct from the mic into a MOTU 828MKII. No mixing desk was used. The samples were taken and edited using Logic 7 in 24 bit resolution at a 96Khz sample rate. The recording was made after midnight, minimizing extraneous noise, as this was not made in a studio. Nevertheless there is a loud ringing sound somewhere in the region of 800Hz (you can measure it) after the louder notes. This is caused by the nature and contents of the tiled room. I have left plenty of space at the end of each sample for the ambiance to ring. If the user doesn't want the ring to be a featured then I suggest using the decay and sustain settings on a sampler's AHDSR generator or just chop them off and fade with a digital editor. I have not attempted to make easy loops etc these samples are for those who want something to programme creatively with. There are plenty of alternate takes of each sound, offering plenty of feel in a groove or simply alternative hits. The start points were edited to where the sample visibly began to rise above room silence. This is sometimes noticeably in advance of the strike as the playing hand pushes air past the microphone, which is very close to the action. This creates more feel and less regimented programming. That’s half the point. If you don’t like that then edit them tighter or buy a sample CD. You should be able to get something towards a live feel yet quantized if you want to. Just write your groove and shift the start time of the loop a few milliseconds backwards maybe. There may be noise of hands moving, breathing or whatever after the note as I have left plenty of sample time at the end. Take it or leave it. If you include the movement immediately after, it should link nicely with the following beat the way they are currently edited. Running the samples monophinicly per drum should do the trick and make the flow sound a bit more live than a stiff drum machine type effect. The SM57 really starts to do its thing with the louder notes, you can really hear the compressed effect. It behaves like an ear: The louder the sound, the bigger the buffer of compressed air against the diaphragm. There is no compressor in the chain and no postprocessing. Filenames with 'MoveHand' and 'MoveTap' are edits of taps on the drum changing pitch by moving the left hand or a finger of, which rests on the skin, to different positions, i.e. further from the centre of the drum each time. 'MoveHand' is what you hear between the taps. Other filename abbreviations: C Closed note (either whole hand resting in middle of drumhead or bouncing off it). H Heel note (a 'transit' or 'shuffle' note linking the louder notes the 'heeltip’ is a consecutive movement with the same hand) T Tip of the fingers usually played whilst heel is resting on drum: a 'grace' note or transit played as part of a flowing 'heeltip' movement O Open note; the full sound of a drum being played allowing the skin to resonate and the pitch to be clearly heard. The main note of the drum. M Mute or muffled note, made by striking just a little bit more toward the edge than for an open note and not releasing the hand. The skin must not resonate but the body of the drum must for full impact. This can be a surprisingly loud note, sometimes louder than an open note. Tap Left hand muting the drum by resting on it, left hand strikes the edge of the surface producing a small nutty sound, variable in pitch depending on the location of the left muting hand. aTum Tumbau (a dissection of) a Cuban rhythm sampled note for note and labeled aTum/bTum/cTum etc sequentially to indicate the order in the rhythmic motif played. This is not a traditional Tumbau but my own development using a Tap instead of a slap and played on a Quinto instead of more usually a Conga. z in the filename is my way of grouping sounds. In this case, as the open notes of a Quinto progress towards the edge of the drum, the sound gets lighter and changes character. The stick samples played on the conga (all with the right hand) are either on the fibre glass body, on the metal rim, a tuning lug or on the skin of the drum either open or with a finger of the left hand touching the skin to change the tone. These three drums could be played individually as in traditional music (rumba, conga, samba etc) or together by one player in a band. Solos might then involve all 3 drums. In AfroCuban Rumba: Tumba (dora) is the lowest and largest of the set of 3. The Mother drum. Calls the changes.Conga is the middle drum of the set of 3. Holds it down. Responds to the call.Quinto is the highest in the set of 3.Used for solos and punctuation. Tumbau (L)Heel/Tip/(R)Slap/(L)Tip/Heel/Tip/(R)Open/Open http://en.wikipedia.org/wiki/Conga Peace Dub Ramjac 2006 ramjacramjac.co.uk
描述：海王星 道的意思。寻路你好，这是来自德国杜伊斯堡镇的非常真实的Horst，有一些关于我的一个藏式唱盘的3:00 Min/5:56 Min的声音。 维基百科关于这个问题的一些说明：歌唱碗（又称藏族歌唱碗、林锣、喜马拉雅碗或苏锣）是一种钟，具体分类为立钟。歌唱碗不是倒挂着，也不是挂在手柄上，而是坐着，底面静止。歌唱碗的侧面和边缘振动产生声音，其特点是有一个基本频率（第一次谐波）和通常两个可听的谐波泛音（第二次和第三次谐波）。根据歌唱碗研究者Joseph Feinstein的说法，歌唱碗传统上在亚洲使用，用青铜碗发声的传统可以追溯到3000年或更早的青铜时代。它们被广泛的专业人士所使用，包括卫生专业人员、学校教师、音乐家和精神导师。声音治疗师、心理治疗师、按摩治疗师、癌症专家、压力和冥想专家在保健方面都使用唱碗。它们被用来帮助治疗癌症患者，也用于治疗创伤后应激障碍。它们在教室里很受欢迎，可以帮助促进小组活动，集中学生的注意力。歌唱碗在历史上曾在亚洲各地制造，特别是尼泊尔、中国和日本。它们与从近东到西亚的丝绸之路上制作的装饰性钟密切相关。今天，它们在尼泊尔、印度、日本、中国和韩国都有制造。我想和你分享的原版西藏歌唱碗的声音，主要是用我在1988年至1994年期间在杜伊斯堡的阿南达书店买的那些碗发出的。多年来，我获得了20多个外径在11至29厘米之间的唱碗。我们的西藏唱碗它们的声音我将在将来上传到这里和这面锣今天被用于我们道场的太极拳和功夫、气功和冥想的训练中。 你正在听的这个碗的声音，其频率与海王星的频率一致；这些声音是我在2013年6月24日拍摄的，后来与海王星频率的双耳节拍以及417索非亚和NASA海王星的声音混合，用于我们的声音项目"西藏钟声和来自外太空的声音"在YouTubeChannel : https://www的一个演示版本。youtube.com/user/TaoChiSoundThanks for Your interest andtrue Peace on Your Waythe very Real Horst< br>