Digital Performer Plug-Ins Guide
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Products of Interest
Products of Interest Universal Audio Apollo Audio from the company’s 2192 interface The front panel of the interface is used here and can be viewed features two combination balanced Interface 1 at almost any angle. The Apollo XLR/jack inputs; two 4 -in. Hi-Z, The Apollo, from Universal Audio, interface supports Core Audio and instrument/line, balanced inputs; is a high-resolution 18 × 24 digital ASIO drivers, and is compatible with and a stereo headphone output. A audio interface designed to deliver all well-known DAWs on Macintosh further four channels of analog inputs the sound of analog recordings (see and Windows operating systems. A and six outputs, all on balanced TRS Figure 1). The interface is available Console application and Console jack ports, are located on the rear with two or four processors, which al- Recall plug-in allow the user to panel. The microphone pre-amplifiers low the audio to be recorded through control and recall the settings for the are taken from the UFX interface UAD-2 powered plug-ins with less interface and plug-in for individual and offer 64 dB gain and overload than 2 msec latency. The user can also sessions. The Apollo has a 19-in., 1U protection. The convertors have a low mix and master using these proces- rack space chassis. latency design, with 14- and 7- sample sors, without drawing from the host The Apollo DUO Core model is latency reported for the A-D and computer processor. The microphone listed for US$ 1,999 and the QUAD D-A convertors respectively. -
ON the NET 24 Hours in Cyberspace
MARCH 1996 $5.75 E2.00 NNW ./ JO' . f r TIE INTERNATIONAL .+' TECHNICAL MAGAZINE FOR PRO AUDIO, POSTPRODUCTION & BROADCAST EXCLUSIVE ON THE NET 24 Hours in Cyberspace 03 HO 9 77014/.59401 7 www.americanradiohistory.com Oizce in a while a product comes along that is so unique, so powerful, that it c_ianges the way we look at things. Such a product is the Ap_iex 661 Compressor Limiter- creating a new standard by combining four Aphex irtventior s. A skillfully engineered instrument of unprecedented tlexib_lity, ea ;e of use and sonic eecellence. Tubessence® - true vacuum tube technology and warmth; High Frequency Expander (HFX)TM for automatically retaining the high frequencies lost during compression; Easyrider® circuitry for an Auto mode that really works; and the world's best VCA - the Aphex 1001, the fastest, most accurate and transparent available. The Aphex Model 661 - another revolutionary step toward improving the way the world sounds. APHEX Improving the way the world soundsd sm Tel: 818 -767 -2929, Fax: 818 -767 -2641 Y A T I V 11068 Randall Street, Sun Valley, CA 91352 www.americanradiohistory.com Editorial Tim Goodyer redesigns humans to suit today's machines Soundings Show news from MacWorld Expo, a report from the (AS (onference and developments from around the world of pro -audio International Columns Reports from Studio Sounds columnists in Europe, America and the Far East Hoboken's Waterfront Studio boasts two classic early 1970s EMI World Events The only exhaustive show and convention consoles and a wealth of unusual vintage -
Multi–Channel, 24Bit/192Khz Audio Interface for the Macintosh User's
Multi–Channel, 24bit/192kHz Audio Interface for the Macintosh User’s Guide v1.1 – October 2006 User’s Guide Table of Contents Owners Record ............................................................................................................. 2 Introduction................................................................................................................... 3 Getting Started Quickly.......................................................................................... 4–7 1. Installing software ............................................................................................ 4 2. Hardware connections....................................................................................... 4 3. OS X configuration ............................................................................................ 5 4. iTunes playback................................................................................................. 5 5. DAW configuration ............................................................................................ 6 6. Recording .......................................................................................................... 7 General Operation................................................................................................... 8–11 Making Settings with Software Control Panels ...................................................... 8 Making Settings with Ensemble’s Front Panel Encoder Knobs ............................... 8 Setting Sample Rate ............................................................................................. -
Pro Audio for Print Layout 1 9/14/11 12:04 AM Page 356
356-443 Pro Audio for Print_Layout 1 9/14/11 12:04 AM Page 356 PRO AUDIO 356 Large Diaphragm Microphones www.BandH.com C414 XLS C214 C414 XLII Accurate, beautifully detailed pickup of any acoustic Cost-effective alternative to the dual-diaphragm Unrivaled up-front sound is well-known for classic instrument. Nine pickup patterns. Controls can be C414, delivers the pristine sound reproduction of music recording or drum ambience miking. Nine disabled for trouble-free use in live-sound applications the classic condenser mic, in a single-pattern pickup patterns enable the perfect setting for every and permanent installations. Three switchable cardioid design. Features low-cut filter switch, application. Three switchable bass cut filters and different bass cut filters and three pre-attenuation 20dB pad switch and dynamic range of 152 dB. three pre-attenuation levels. All controls can be levels. Peak Hold LED displays even shortest overload Includes case, pop filter, windscreen, and easily disabled, Dynamic range of 152 dB. Includes peaks. Dynamic range of 152 dB. Includes case, pop shockmount. case, pop filter, windscreen, and shockmount. filter, windscreen, and shockmount. #AKC214 ..................................................399.00 #AKC414XLII .............................................999.00 #AKC414XLS..................................................949.99 #AKC214MP (Matched Stereo Pair)...............899.00 #AKC414XLIIST (Matched Stereo Pair).........2099.00 Perception Series C2000B AT2020 High quality recording mic with elegantly styled True condenser mics, they deliver clear sound with Effectively isolates source signals while providing die-cast metal housing and silver-gray finish, the accurate sonic detail. Switchable 20dB and switchable a fast transient response and high 144dB SPL C2000B has an almost ruler-flat response that bass cut filter. -
Kitcore Guide Version
AU, RTAS, and VST plug-in Version 2.0 for Windows XP and Vista and Mac OS X Submersible Music 505 Fifth Avenue South, Suite 900 505 Union Station Seattle, WA 98104 www.submersiblemusic.com Copyright Samplitude is a registered trademark of Magix AG. © 2008 Submersible Music Inc. All rights reserved. This guide may not be reproduced or transmitted in whole or in part in Sonar is a registered trademark of Twelve Tone Systems, Inc. any form or by any means without the prior written consent of Submersible Music Inc. ASIO is a trademark of Steinberg Soft- und Hardware GmbH. KitCore™, DrumCore®, and Gabrielizer ™ are trademarks or registered trademarks of Submersible Music Inc. All other ReWire™ and REX™ by Propellerhead, © Propellerhead trademarks found herein are the property of their respective Software AB. owners. All trademarks contained herein are the property of their Pentium is a registered trademark of Intel Corporation. respective owners. AMD and Athlon are trademarks of Advanced Micro Devices, All features and specifications of this guide or the DrumCore Inc. product are subject to change without notice. Windows and DirectSound are registered trademarks of Microsoft Corporation in the United States and other countries. Mac, Power Mac, PowerBook, MacBook, and the Mac and Audio Units logos are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. ACID, ACID Music Studio, and ACID Pro are trademarks or registered trademarks of Madison Media Software, Inc., a subsidiary of Sony Corporation of America or its affiliates in the United States and other countries. Digital Performer is a registered trademark of Mark of the Unicorn, Inc. -
DAW Control Manual
ModelMultitrack Recording Console12 DAW Controlmode MANUAL Introduction Contents Overview The Model 12 has DAW control functions. By setting it to DAW Introduction .............................................................................. 2 control mode, its controls can be used for basic operation of Overview .................................................................................................... 2 the DAW application. This includes fader operation, muting, Trademarks ................................................................................................ 2 panning, soloing, recording, playing, stopping and other transport functions. Model 12 operations ................................................................ 3 Mackie Control and HUI protocol emulation are supported, so Preparing the unit ................................................................................... 3 Cubase, Digital Performer, Logic, Live, Pro Tools, Cakewalk and Connecting with a Computer ....................................................... 3 other major DAW applications can be controlled. Starting DAW control mode .......................................................... 3 Ending DAW control mode ............................................................ 3 MTR/USB SEND POINT screen settings ...................................... 4 Trademarks Mixer controls that can be used when in DAW control mode... 5 USB audio input and output when in DAW control mode ....... 6 o TASCAM is a registered trademark of TEAC Corporation. Making -
Computer Mediated Music Production: a Study of Abstraction and Activity
Computer mediated music production: A study of abstraction and activity by Matthew Duignan A thesis for the degree of Doctor of Philosophy in Computer Science. Victoria University of Wellington 2008 Abstract Human Computer Interaction research has a unique challenge in under- standing the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis exam- ines the ways in which abstraction mechanisms present in music production systems interplay with producers’ activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiqui- tous multitrack-mixing metaphor and present design implications for future systems. ii Acknowledgements I would like to thank my supervisors Robert Biddle and James Noble for their endless hours of guidance and feedback during this process, and most of all for allowing me to choose such a fun project. Michael Norris and Lissa Meridan from the Victoria University music department were also invaluable for their comments and expertise. I would also like to thank Alan Blackwell for taking the time to discuss my work and provide valuable advice. I am indebted to all of my participants for the great deal of time they selflessly offered, and the deep insights they shared into their professional world. -
Automation: from Consoles to Daws
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2016 Automation: From Consoles to DAWs Christian Ekeke California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Education Commons Recommended Citation Ekeke, Christian, "Automation: From Consoles to DAWs" (2016). Capstone Projects and Master's Theses. 41. https://digitalcommons.csumb.edu/caps_thes_all/41 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Christian Ekeke 12/19/16 Capstone 2 Dr. Lanier Sammons Automation: From Consoles to DAWs Since the beginning of modern music there has always been a need to implement movement into a mix. Whether it is bringing down dynamics for a classic fade out or a filter sweep slowly building into a chorus, dynamic activity in a song has always been pleasing to the average music listeners. The process that makes these mixing techniques possible is automation. Before I get into details about automation in regards to mixing I will explain common ways automation is used. Automation in a nutshell is the use of various techniques, method, and system of operating or controlling a process by highly automatic means generally through electronic devices. In music however, automation is simply the use of a combination of multiple control devices to alter parameters in real time while a mix is being played. -
Vo Lume, Pa Rt 1: Fiddling with Fa Ders
Vol ume, Par t 1: Fiddling with Fad e r s By Alex Case t is an axiom of the roc k and roll rec o r ding craft that of balance. Re l ying almost entirel y on volume control s , louder is better. The good old volume control is a pow- balancing a mix is one of the most important skills an Ierful audio effect—and ever y studio has at least one. engineer must master. This and the next episode of Nuts & Boltswill exp l o r e the many applications of this humble effect—some obvi - On the level ou s , and some not so obvi o u s . If music is picked up with a mi c ro p h o n e , you’ll need a A sense of balance mi c r ophone prea m p l i f i e r . Consider the first step in Guess what? Mic preamps are building a mix. Ca re f u l l y, sy s - In pop music, if the guitar is nothing more than vol u m e te m a t i c a l l y, and iterat i vel y you dev i c e s . And we’ v e got to set adjust and readjust the vol - louder than the vocals, you ’ r e the volume just right when we ume and pan position of each going to have trouble selling rec o r d to tape or hard disk tra c k until the combination (see sideba r ) . -
Schwachstellen Der Kostenfreien Digital Audio Workstations (Daws)
Schwachstellen der kostenfreien Digital Audio Workstations (DAWs) BACHELORARBEIT zur Erlangung des akademischen Grades Bachelor of Science im Rahmen des Studiums Medieninformatik und Visual Computing eingereicht von Filip Petkoski Matrikelnummer 0727881 an der Fakultät für Informatik der Technischen Universität Wien Betreuung: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Mitwirkung: Univ.Lektor Dipl.-Mus. Gerald Golka Wien, 14. April 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Disadvantages of using free Digital Audio Workstations (DAWs) BACHELOR’S THESIS submitted in partial fulfillment of the requirements for the degree of Bachelor of Science in Media Informatics and Visual Computing by Filip Petkoski Registration Number 0727881 to the Faculty of Informatics at the Vienna University of Technology Advisor: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Assistance: Univ.Lektor Dipl.-Mus. Gerald Golka Vienna, 14th April, 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Erklärung zur Verfassung der Arbeit Filip Petkoski Wienerbergstrasse 16-20/33/18 , 1120 Wien Hiermit erkläre ich, dass ich diese Arbeit selbständig verfasst habe, dass ich die verwen- deten Quellen und Hilfsmittel vollständig angegeben habe und dass ich die Stellen der Arbeit – einschließlich Tabellen, Karten und Abbildungen –, die anderen Werken oder dem Internet im Wortlaut oder dem Sinn nach entnommen sind, auf jeden Fall unter Angabe der Quelle als Entlehnung kenntlich gemacht habe. Wien, 14. April 2016 Filip Petkoski v Kurzfassung Die heutzutage moderne professionelle Musikproduktion ist undenkbar ohne Ver- wendung von Digital Audio Workstations (DAWs). -
Delivery of Recorded Music Projects
TECHNICAL DOCUMENT AES TECHNICAL COUNCIL Document AESTD1002.1.03-10 Recommendation for delivery of recorded music projects Nashville members of the P&E Wing of The Recording Academy® formed a Delivery Specifications Committee, and in collaboration with the Audio Engineering Society’s Technical Committee on Studio Practices and Production have created The Delivery Recommendations for Master Recordings document. AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520 . New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520, New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org The Audio Engineering Society’s Technical Council and its Technical Committees respond to the interests of the membership by providing technical information at an appropriate level via conferences, conventions, workshops, and publications. They work on developing tutorial information of practical use to the members and concentrate on tracking and reporting the very latest advances in technology and applications. This activity is under the direction of the AES Technical Council and its Committees. The Technical Council and its first Technical Committees were founded by the Audio Engineering Society in 1979, and standing rules covering their activities were established in 1986, with the intention of defining and consolidating the technical leadership of the Society for the benefit of the membership. The Technical Council consists of the officers of the Technical Council, the chairs of the Technical Committees, the editor of the Journal, and as ex-officio members without vote, the other officers of the Society. -
Authoring for Dolby Atmos Cinema Sound Manual
Authoring for Dolby® Atmos™ Cinema Sound Manual Issue 1 Part Number 9111800 Software v1.0 Dolby Laboratories, Inc. Corporate Headquarters Dolby Laboratories, Inc. Dolby Laboratories Licensing Corporation 100 Potrero Avenue San Francisco, CA 94103-4813 USA Telephone 415-558-0200 Fax 415-863-1373 www.dolby.com European Headquarters Dolby Laboratories, Inc. Wootton Bassett Wiltshire SN4 8QJ England Telephone 44-1793-842100 Fax 44-1793-842101 Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Dolby Atmos is a trademark of Dolby Laboratories. All other trademarks remain the property of their respective owners. Issue 1 © 2013 Dolby Laboratories. All rights reserved. S13/26440/26818 ii Authoring for Dolby® Atmos™ Cinema Sound Manual Table of Contents List of Figures .............................................................................................................. vi List of Tables .............................................................................................................. viii Chapter 1 Introduction to Dolby Atmos Authoring Tools .......................................... 1 1.1 Dolby Atmos Overview ........................................................................................................ 1 1.2 Dolby Atmos System Overview ........................................................................................... 2 1.3 Dolby Atmos Metadata Flow with Different