Berkeley: University of California Press, 1975. Journal of the Acoustical Society of America, 1966, 40, 20–26.Įrickson, R. Lateralization of a weak signal presented with correlated and with uncorrelated noise. Journal of the Acoustical Society of America, 1975, 57, 1156–1160. Journal of the Acoustical Society of America, 1954, 26, 554–559.ĭeutsch, D. Some further experiments upon the recognition of speech, with one and with two ears. Journal of Experimental Psychology, 1954, 47, 191–196.īroadbent, D. The role of auditory localization in attention and memory span. Canadian Journal of Psychology, 1978, 32, 20–31.īroadbent, D. Auditory streaming and the building of timbre. Primary auditory stream segregation and perception of order in rapid sequences of tones. Requin (Ed.), Attention and performance VII. Journal of the Acoustical Society of America, 1973, 53, 699–709.īregman, A. Dichotic speech perception: An interpretation of right ear advantage and temporal offset effects. New York: Oxford University Press, 1976.īerlin, C. Journal of the Acoustical Society of America, 1968, 43, 51–55.īenade, A. Perceived rate of monotonic and dichotically alternating clicks. Journal of the Acoustical Society of America, 1977, 61, 811–815.Īxelrod, S., Guzy, L. Two-channel simultaneous frequency difference limen. It is argued that difficulties in binaural integration are due not to processing limitations, but to a mechanism that is invoked under certain conditions to prevent confusion in monitoring individual sound sources.Īhroon, W. Onset-offset asynchronies between the drone and melody components resulted in performance levels between those where the drone and melody components were synchronous and those where the melody switched between ears without an accompanying drone. This improvement in performance cannot be attributed to processing the harmonic relationships between melody and drone, since when, instead, the drone was presented to the same ear as the melody component, performance was at chance. Yet when the component tones of the melody were distributed between the ears, performance was largely nullified when a drone (i.e., a lower constantfrequency tone) was presented to the ear opposite that receiving the melody component. When these sequences were presented binaurally, excellent performance was obtained. Listeners identified melodic configurations formed by rapid sequences of tones. You can even send Program Changes from the Q49's keys to change programs, patches, and more.It has been argued that there is a limit to the rate at which we can switch attention between ears in monitoring auditory information. Place it a tier above an existing workstation keyboard and utilize Q49's streamlined layout to maximize your sound and performance options. Its compact size and portability make it ideal for fitting into existing rigs and then hitting the road. The Q49 is also the perfect choice for controlling hardware MIDI devices. The Q49 comes with a copy of Ableton's Live Lite and AIR Music Tech's Xpand!2 software, for performing, recording, and sequencing music right out of the box. The Q49 provides keyboard players with a full compliment of controls including pitch and modulation wheels, octave up and down buttons, an assignable data slider, and the ability to send program changes from the keys. The compact controller features USB-MIDI and traditional MIDI jacks for easy connection to Mac, PC and MIDI hardware. The Q49 is a 49-note keyboard controller that works with virtually all music software and MIDI hardware devices. It’s free to download upon registration of your controller, and comes with over 60 free lessons (Including Five Exclusive to Alesis) to get you started! Whether your just starting out or a seasoned pro looking to learn advanced techniques Melodics grows with you. Melodics is a desktop app that teaches you to play and perform with MIDI keyboards, pad controllers, and drums. For a Limited time join over 100,000 musicians building their skills with Melodics.
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