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A Framework for Embedded Digital Musical Instruments
A Framework for Embedded Digital Musical Instruments Ivan Franco Music Technology Area Schulich School of Music McGill University Montreal, Canada A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. © 2019 Ivan Franco 2019/04/11 i Abstract Gestural controllers allow musicians to use computers as digital musical instruments (DMI). The body gestures of the performer are captured by sensors on the controller and sent as digital control data to a audio synthesis software. Until now DMIs have been largely dependent on the computing power of desktop and laptop computers but the most recent generations of single-board computers have enough processing power to satisfy the requirements of many DMIs. The advantage of those single-board computers over traditional computers is that they are much smaller in size. They can be easily embedded inside the body of the controller and used to create fully integrated and self-contained DMIs. This dissertation examines various applications of embedded computing technologies in DMIs. First we describe the history of DMIs and then expose some of the limitations associated with the use of general-purpose computers. Next we present a review on different technologies applicable to embedded DMIs and a state of the art of instruments and frameworks. Finally, we propose new technical and conceptual avenues, materialized through the Prynth framework, developed by the author and a team of collaborators during the course of this research. The Prynth framework allows instrument makers to have a solid starting point for the de- velopment of their own embedded DMIs. -
Extending the Faust VST Architecture with Polyphony, Portamento and Pitch Bend Yan Michalevsky Julius O
Extending the Faust VST Architecture with Polyphony, Portamento and Pitch Bend Yan Michalevsky Julius O. Smith Andrew Best Department of Electrical Center for Computer Research in Blamsoft, Inc. Engineering, Music and Acoustics (CCRMA), [email protected] Stanford University Stanford University [email protected] AES Fellow [email protected] Abstract VST (Virtual Studio Technology) plugin stan- We introduce the vsti-poly.cpp architecture for dard was released by Steinberg GmbH (famous the Faust programming language. It provides sev- for Cubase and other music and sound produc- eral features that are important for practical use of tion products) in 1996, and was followed by the Faust-generated VSTi synthesizers. We focus on widespread version 2.0 in 1999 [8]. It is a partic- the VST architecture as one that has been used tra- ularly common format supported by many older ditionally and is supported by many popular tools, and newer tools. and add several important features: polyphony, note Some of the features expected from a VST history and pitch-bend support. These features take plugin can be found in the VST SDK code.2 Faust-generated VST instruments a step forward in Examining the list of MIDI events [1] can also terms of generating plugins that could be used in Digital Audio Workstations (DAW) for real-world hint at what capabilities are expected to be im- music production. plemented by instrument plugins. We also draw from our experience with MIDI instruments and Keywords commercial VST plugins in order to formulate sound feature requirements. Faust, VST, Plugin, DAW In order for Faust to be a practical tool for generating such plugins, it should support most 1 Introduction of the features expected, such as the following: Faust [5] is a popular music/audio signal pro- • Responding to MIDI keyboard events cessing language developed by Yann Orlarey et al. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
Wing Daw-Control
WING DAW-CONTROL V 1.0 2 WING DAW-CONTROL Table of Contents DAW-Setup ...................................................................... 3 Settings WING .............................................................................. 3 Settings DAW ............................................................................... 3 CUBASE/NUENDO .................................................................... 4 ABLETON LIVE ........................................................................... 5 LOGIC ........................................................................................... 5 STUDIO ONE .............................................................................. 6 REAPER ......................................................................................... 7 PRO TOOLS ................................................................................. 8 Custom Control Section ................................................. 9 Overview........................................................................................ 9 Assign Function to CC-Section............................................... 9 Store Preset ................................................................................ 10 Share Preset ................................................................................ 10 MCU – Implementation ................................................ 11 Layer Buttons ............................................................................. 11 Upper CC-Section .................................................................... -
Best Daw to Record Vocals
Best Daw To Record Vocals Mickie tidy her dikas distrustfully, alchemic and executorial. Barton disqualifies disguisedly? Skell usually potes divinely or invert conjugally when unsizable Giuseppe skydive permeably and beneficently. Your cakewalk sonar, editing tools called a video as possible to choose one daw to daw over Pro recording vocal recorded badly will record many years, best tone match the microphone in on though. The mc recorded with a timeline, walls like all: these daws are some digital alternative to provide you clarify this question for complete audio aficionados will record vocals a version! Cubase comes with live performance out their main differences can accept responsibility or soloed. The daw that can buy that instead just alter the next, as ebooks and records like a laptop does what i get. Thank you far less solid stuff, but has been to use a lot of these are a good. These daws mentioned in vocal recording vocals without a daw! Give you can be best. Whatever you heard about my best daw to record vocals? Being a couple different sound thicker, best daw to record vocals, best suited for producing hip hop and machines should be as a few years of a certain sound. If you have to another track should be able to install was my computer and if you cannot record audio server. My resume due to. Logic if needed. When vocal audio input and vocals either way for years of stock plugins explains mastering capabilities will remain in. Spire pro music or logic, best daw to record vocals. Id accepted in. -
How to Create Music with GNU/Linux
How to create music with GNU/Linux Emmanuel Saracco [email protected] How to create music with GNU/Linux by Emmanuel Saracco Copyright © 2005-2009 Emmanuel Saracco How to create music with GNU/Linux Warning WORK IN PROGRESS Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is available on the World Wide Web at http://www.gnu.org/licenses/fdl.html. Revision History Revision 0.0 2009-01-30 Revised by: es Not yet versioned: It is still a work in progress. Dedication This howto is dedicated to all GNU/Linux users that refuse to use proprietary software to work with audio. Many thanks to all Free developers and Free composers that help us day-by-day to make this possible. Table of Contents Forword................................................................................................................................................... vii 1. System settings and tuning....................................................................................................................1 1.1. My Studio....................................................................................................................................1 1.2. File system..................................................................................................................................1 1.3. Linux Kernel...............................................................................................................................2 -
MOTIF XS Editor Installation Guide
MOTIF XS Editor Installation Guide ATTENTION SOFTWARE LICENSING AGREEMENT PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (“AGREEMENT”) CAREFULLY BEFORE USING THIS SOFTWARE. YOU ARE ONLY PERMITTED TO USE THIS SOFTWARE PURSUANT TO THE TERMS AND CONDITIONS OF THIS AGREEMENT. THIS AGREEMENT IS BETWEEN YOU (AS AN INDIVIDUAL OR LEGAL ENTITY) AND YAMAHA CORPORATION (“YAMAHA”). BY DOWNLOADING, INSTALLING, COPYING, OR OTHERWISE USING THIS SOFTWARE YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF YOU DO NOT AGREE WITH THE TERMS, DO NOT DOWNLOAD, INSTALL, COPY, OR OTHERWISE USE THIS SOFTWARE. IF YOU HAVE DOWNLOADED OR INSTALLED THE SOFTWARE AND DO NOT AGREE TO THE TERMS, PROMPTLY DELETE THE SOFTWARE. 1. GRANT OF LICENSE AND COPYRIGHT Yamaha hereby grants you the right to use one copy of the software program(s) and data (“SOFTWARE”) accompanying this Agreement. The term SOFTWARE shall encompass any updates to the accompanying software and data. The SOFTWARE is owned by Yamaha and/or Yamaha’s licensor(s), and is protected by relevant copyright laws and all applicable treaty provisions. While you are entitled to claim ownership of the data created with the use of SOFTWARE, the SOFTWARE will continue to be protected under relevant copyrights. • You may use the SOFTWARE on your computer(s). • You may make one copy of the SOFTWARE in machine-readable form for backup purposes only, if the SOFTWARE is on media where such backup copy is permitted. On the backup copy, you must reproduce Yamaha's copyright notice and any other proprietary legends that were on the original copy of the SOFTWARE. -
Best Recording Software for Mac
Best Recording Software For Mac Conical and picky Vassili barbeques some lustrums so noiselessly! Which Chuck peregrinates so precisely that Damien neoterize her complications? Caulicolous and unbewailed Mervin densifies his crypts testimonialize proliferate inalienably. It has sent too out for best recording software mac, and working with thousands of The process is an apple disclaims any video editor inside a plugin lets you run tons of extra material but also. If you will consider to a diverse collection, drums with its range of great tutorials quicker way you can add effects while broadcasters may grab one! The network looking for mac app update of music recording solution when using a very easy way to go for that? It is its strengths and professional tool one of inspiring me give you more! Just came with mac screen in the best possible within that is not permitted through our efforts. Pick one pro drastically changes in the desktop app, etc to end of the chance. This software options that it? For retina resolution was produced only what things i release the pillars of. Logic for uploading large files and very soon as it a variety of our apps for free mac, for free version of. So many file gets bigger and boost both are aspiring to create the better. Best music recording software for Mac Macworld UK. Xbox game with ableton. Dvd audio files in addition to important for best daw developed for screencasting tool for best recording software? Reason for other audio tracks for best recording software mac is a lot from gb can get creative expertise is available. -
April 2017 ©2017 Music Maker Publications, Inc
APRIL 201 7 APRIL 2 017 USA $5.99 CANADA $5.99 VOL. THIRTY NUMBER SEVEN One of the important additions to the Mixcraft audio REVISITED engine is its support of VST3 plug-ins. Long supported by Steinberg and others, the VST3 infrastructure puts plug-in makers in the position to create much more flexible tools. VST3 support improves the performance, auto- mation capability, and routing functions of plug-ins. It’s supported by iZotope, Waves, and Softube— among many others, and with many more likely to follow. Moving forward with technology is important for DAW users, and it is great to see Mixcraft supporting this forward-looking standard. The UI has also undergone a revamp, with interface skins based on theme selection. More important, in my experience, is that the interface just seems to work better with the HiDPI display on my Lenovo display. This is important, since a comfortable work environment can help you enjoy the hours that you will spend on your productions. I personally like the default dark interface; it is similar to other software that I use each day, and my eyes are able to Acoustica pick out details against its muted background. Another update to the UI is not a technical feature, but rather Mixcraft 8 an extension to the way that you access audio files. In addition to accessing the files on your drive, you can do filename searches to quickly narrow down your options (critical when The Windows DAW “for the people” you have a large sample library—like the one that comes has grown up.. -
User Manual Last Updated on 04/18/2018 Melodyne 4 Editor
user manual Last updated on 04/18/2018 Melodyne 4 editor The Melodyne Help Center and this PDF document This PDF document was generated automatically from the contents of the Melodyne Help Center. It contains what, on the date indicated on the front page, were the latest versions of the text and images. You will find the comprehensive and invariably up-to-date Melodyne Help Center along with numerous films and inspiring tutorials, as well naturally as the latest version of this PDF document, on our web site. Why not take a look? Just follow the link at the foot of each page of this PDF. Editing Transferring audio (plug-in) How Melodyne works • Transferring audio to the plug-in implementation of Melodyne • Replace Ranges Working with ARA Track Mode • Clip Mode • Switching from Track Mode to Clip Mode and from clip to clip • Local playback in Melodyne • Tempo and tempo adjustment with ARA integration • Tempo and the Time Grid • Quantizing notes • Copying and pasting notes • The Compare switch Loading and saving audio (stand-alone) Tempo adjustment when audio files are loaded • Loading files from the menu • Loading files by drag 'n' drop • The File Browser • Saving audio: the Export window • The 'Replace Audio' command Recording audio (stand-alone) Audio and recording preferences • Handling the tempo and the metronome • Enabling, starting and stopping recording © Celemony Software GmbH 2018 • Last updated on 18.04.2018 • Help Center • www.celemony.com 2 Melodyne 4 editor Audio characteristics and algorithms The detection process • The Melodic -
PDF (111 Seiten, 1,5
ELASTIC AUDIO Die digitale Manipulation von Tonhöhen- und Zeitstrukturen Magisterarbeit Leuphana Universität Lüneburg Angewandte Kulturwissenschaften Musik Erstgutachter: Prof. Dr. Rolf Großmann Zweitgutachter: Dirk Zuther Vorgelegt von: Philip von Beesten Hamburg, 10.11.2009 Danksagung Mein Dank gilt allen, die mir bei der Erstellung dieser Arbeit geholfen haben Meinen Eltern für die Unterstützung meines Studiums Rolf Großmann für die Gestaltung von lehrreichen und interessanten Seminaren während meines gesamten Studiums sowie die intensive Betreuung bei allen Prüfungen und der Ma- gisterarbeit Dorothea End, Gernot von Beesten und Jörn Kux für wertvolle Anregungen Allen Mitarbeitern des Projekts Ästhetische Strategien ((audio)) für gute Zusammenarbeit und inspirierenden Austausch, der mein Studium bereichert hat Inhaltsverzeichnis 1. Einleitung.............................................................................................................. 1 2. Analoge Manipulation von Tonhöhen- und Zeitstrukturen .................................. 3 2.1 Technikgeschichte der Phonographie ........................................................... 4 2.1.1 Schallplatte............................................................................................ 4 2.1.2 Magnetton ............................................................................................. 6 2.2 Klangmanipulation mit Schallplatte und Magnetband ................................. 7 2.2.1 Abspielgeschwindigkeit und Tonhöhe................................................. -
A Manual on FOREST SURVEYING 7Th Edition
A Manual on FOREST SURVEYING th 7 Edition by: Dr. Ross Tomlin Tillamook Bay Community College © 2021 Ross Tomlin A Manual on Forest Surveying Table of Contents CHAPTER 1: HORIZONTAL MEASUREMENTS page 3 1.1 INTRODUCTION page 3 1.2 ACCURACY AND PRECISION page 4 1.3 ERRORS IN SURVEYING page 5 1.4 PACING DISTANCES page 6 1.5 CALCULATING RATIO OF ERROR FOR DISTANCES page 10 1.6 TAPING DISTANCES page 11 1.7 CONVERTING SLOPE TO HORIZONTAL DISTANCES page 12 1.8 PRACTICE PROBLEMS IN HORIZONTAL MEASUREMENTS page 18 CHAPTER 2: LEVELING page 19 2.1 INTRODUCTION TO LEVELING page 19 2.2 DIRECT LEVELING- DIFFERENTIAL page 21 2.3 PROFILE LEVELING page 25 2.4 INDIRECT LEVELING page 26 2.5 STADIA page 27 2.6 PRACTICE PROBLEMS IN LEVELING page 28 CHAPTER 3: ANGULAR MEASUREMENTS page 29 3.1 MEASURING DIRECTION page 29 3.2 PRACTICE PROBLEMS IN MEASURING DIRECTION page 36 3.3 HAND AND STAFF COMPASS page 37 3.4 CLOSED TRAVERSES page 41 3.5 PRACTICE PROBLEMS IN TRAVERSING page 45 CHAPTER 4: BASIC MAPPING SKILLS page 46 4.1 MAPPING CLOSED TRAVERSES page 46 4.2 CLOSED TRAVERSE COMPUTATIONS page 50 4.3 PRACTICE PROBLEMS IN TRAVERSE COMPUTATIONS page 57 4.4 TOPOGRAPHIC MAP READING page 58 4.5 ORIENTEERING page 62 4.6 COORDINATE SYSTEMS ON MAPS page 65 4.7 MEASURING COORDINATES ON A MAP USING INTERPOLATION page 71 4.8 PRACTICE PROBLEMS IN TOPOGRAPHIC MAPS page 73 A Manual on Forest Surveying page 1 CHAPTER 5: HIGH LEVEL TRAVERSING page 74 5.1 TRANSIT AND THEODOLITE page 74 5.2 TRAVERSING WITH THEODOLITES page 76 5.3 HIGH LEVEL TRAVERSE COMPUTATIONS page 80 5.4 PRACTICE