Wavelab Pro 9.5.20
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Activate Licence with Ilok Cloud
Activate Licence With Ilok Cloud Dietrich remains unrefuted: she grutch her tabes stun too pyramidally? Windburned and self-condemning Kenton always reconquers biblically and night-club his ebbs. Sugary Donald skimps that tranquilization forklifts engagingly and valuating howe'er. License is automatically at hand and channel on older versions of their associated with Ilok Emulator. Select the above to activate licence with ilok cloud session limit for a licence manager they work? The more than pro tools you will take a valid license activation that come with pro tools and newbies to effortlessly move and upgrades. The companies behind transformizer fundamentally works for a cloud connection is allowed on your license on this audio manipulation features and feel and they restored permanent licenses. Cd in a functional internet is not a great ones you for all avid accounts are. Help us improve an article with genuine feedback. With clients who inspired acoustics and try out. Click on File in the menu bar unless the iLok License Manager and select the Cloud Session All iLok Cloud licences will be automatically activated on own account. Ew library activated on our website, editing it cost and activating a back active in your account can be carried out. Linux based NAS server? HDD tho vs it being deadlocked thru iloks internet registering mechanisms. Continue with Google account transfer log in. ILok cloud problems with PT 2011 Avid Pro Audio Community. It may not be quite confusing given out as page where professionals can activate licence with ilok cloud session before it for licenses over time has tested and has reached its not allowed. -
The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
Pro Tools | Quartet Your Personal Professional Music Studio
Pro Tools | Quartet Your personal professional music studio For musicians, engineers, producers, sound designers, and audio post professionals who demand a complete audio/MIDI creative solution, Pro Tools® | Quartet enables you to turn your Mac or PC into a high-performance yet portable music and audio production studio. Featuring industry-standard Pro Tools software and the best-in-class Quartet by Apogee 12x8 audio interface, Pro Tools | Quartet provides everything you need to create professional- level productions that will help you stand out from the crowd—from first note to final mix. And now it’s more affordable and an even better value than ever—bundle the interface with a full Pro Tools license and get a free year of upgrades included at no additional charge, or choose a lower cost 1-year Pro Tools subscription and get all upgrades included throughout your subscription. Plus, both options come with your choice of two additional premium Avid plug-ins at no extra charge. Top Rear Create with industry-standard Pro Tools Sound Amazing® with Quartet • Work with the award-winning toolset trusted by audio pros worldwide • Record performances in 24-bit/192 kHz resolution • Write, play, practice, record, edit, mix, and master music faster • Connect mics, instruments, and more to high-quality I/O: • Get seamless integration with Quartet by Apogee for optimized control o Four combination mic/instrument/line inputs • Create large, richly detailed sessions easily with 64-bit performance o Eight channels of ADAT/SMUX input via Toslink • Track -
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 .................................................................... -
UR824 Getting Started Contents English PRECAUTIONS
USB AUDIO INTERFACE EN DE FR ES IT JA FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: regulations does not guarantee that interference DO NOT MODIFY THIS UNIT! will not occur in all installations. If this product is This product, when installed as indicated in the found to be the source of interference, which can instructions contained in this manual, meets FCC be determined by turning the unit “OFF” and “ON”, requirements. Modifications not expressly please try to eliminate the problem by using one of approved by Yamaha may void your authority, the following measures: granted by the FCC, to use the product. Relocate either this product or the device that is being affected by the interference. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high Utilize power outlets that are on different branch quality shielded cables. Cable/s supplied with this (circuit breaker or fuse) circuits or install AC line product MUST be used. Follow all installation filter/s. instructions. Failure to follow instructions could void In the case of radio or TV interference, relocate/ your FCC authorization to use this product in the reorient the antenna. If the antenna lead-in is 300 USA. ohm ribbon lead, change the lead-in to co-axial type cable. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC If these corrective measures do not produce Regulations, Part 15 for Class “B” digital devices. satisfactory results, please contact the local retailer Compliance with these requirements provides a authorized to distribute this type of product. -
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. -
AVID Pro Tools | S3 Data Sheet
Pro Tools | S3 Small format, big mix Based on the award-winning Avid® Pro Tools® | S6, Pro Tools | S3 is a compact, EUCON™-enabled, ergonomic desktop control surface that offers a streamlined yet versatile mixing solution for the modern sound engineer. Like S6, S3 delivers intelligent control over every aspect of Pro Tools and other DAWs, but at a more affordable price. While its small form factor makes it ideal for space-confined or on-the-go music and post mixing, it packs enormous power and accelerated mixing efficiency for faster turnarounds, making it the perfect fit everywhere, from project studios to the largest, most demanding facilities. Take complete control of your studio Experience the deep and versatile DAW control that only Avid can deliver. With its intelligent, ergonomic design and full EUCON support, S3 puts tightly integrated recording, editing, and mixing control at your fingertips, enabling you to work smarter and faster— with your choice of DAWs—to expand your Experience exceptional integration, mixing capabilities and job opportunities. ergonomics, and visual feedback And because S3 is application-aware, you No other surface offers the level of DAW integration and versatility that Avid can switch between different DAW sessions control surfaces provide, and S3 is no different. Its intuitive controls feel like in seconds. Plus, its compact footprint fits an extension of your software, enabling you to mix with comfort, ease, and easily into any space, giving you full reign of speed, with plenty of rich visual feedback to guide you. the “sweet spot.” • 16 channel strips, each with a touch-sensitive, motorized Work smarter and faster fader and 10-segment signal level meter S3 combines traditional console layout design • 32 touch-sensitive, push-button rotary encoders for with the proven advancements of Pro Tools | S6, panning, gain control, plug-in parameter adjustments, ensuring highly intuitive operation, regardless of and more (16 channel control, 16 assignable), each with your experience level. -
Virtual Instrument Software
350 VIRTUAL INSTRUMENT SOFTWARE TOONTRACK EZ DRUMMER TOONTRACK EXPANSIONS • 7000 sounds at 16-bit/44.1kHz equiv. Expansions require EZdrummer to 5GB of uncompressed WAV files or Superior Drummer 2.0 • Instant access to more than 8000 ELECTRONIC-EZX ........Classic, circuit bent MIDI drum patterns with prelistening and resampled electronic drums ...................39.99 • Multiple microphone control CLAUSTROPHOBIC ......R&B, Hip Hop and Pop expansion ..................39.99 • Operates in General MIDI TWISTED-KIT ...............Junkyard sounds, unique/conventional ..........39.99 • Internal mixer allows stereo and NASHVILLE...................Traditional country and bluegrass .................39.99 multitrack routing into the host DRUMKIT-FROM-HELL..Heavy metal and rock drums .........................39.99 through one single plug-in VINTAGE-ROCK ............Ludwig Keystone drumset...............................39.99 JAZZ-EZX .....................Jazz expansion with samples performed • Recorded at Avatar Studios, New York by Roy “Futureman” Wooten ..........................39.99 by world-class drummers and producers FUNKMASTERS ............Clyde Stubblefield and John “Jabo” Starks funk 39.99 • Humanizer function combines METALHEADS ...............Extreme Metal - Tomas Haake/ drum hit randomizing and non-cycling SUPPORTS: Daniel Bergstrand (Meshuggah) ....................39.99 LATIN-PERCUSSION ....Lain percussion expansion .............................39.99 • Add your own MIDI files to the library THE-CLASSIC...............'70s rock-contemporary -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
Wavelab Elements 9 – Operation Manual
Operation Manual Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Kevin Quarshie, Benjamin Schütte This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use. All product and company names are ™ or ® trademarks of their respective holders. For more information, please visit www.steinberg.net/trademarks. © Steinberg Media Technologies GmbH, 2016. All rights reserved. Table of Contents 6 Introduction 50 Project Handling 6 Help System 50 Opening Files 7 About the Program Versions 51 Value Editing 7 Conventions 51 Drag Operations 8 How You Can Reach Us 53 Undoing and Redoing Actions 10 Setting Up Your System 53 Zooming 10 Connecting Audio 59 Presets 10 Audio Cards and Background Playback 62 File Operations 11 Latency 62 Recently Used Files 11 Defining VST Audio Connections 62 Save and Save As 14 CD/DVD Recorders 64 Templates 14 Remote Devices 68 File Renaming 20 WaveLab Elements Concepts 69 Deleting Files 20 General Editing Rules 69 Temporary Files 20 Startup Dialog 69 Work Folders vs. -
Nectar 2 Help Documentation
Table of Contents Introduction 4 What’s New in Nectar 2? 6 Authorization 7 Quickstart 12 Global Menu 16 Preset Manager 18 Overview Panel 19 Input and Output Gain 26 Input and Output Meters 28 Equalizer Module 30 Compressors Module 36 De-Esser Module 45 Gate Module 50 Saturation Module 57 Pitch Correction Module 61 Harmony Module 67 Reverb Module 74 FX Module 79 Delay Module 86 Limiter Module 90 Pitch Editor Plug-in 93 Breath Control Plug-in 107 Preset System 111 Spectrum 116 History Menu 118 CPU Optimization 120 Buffer Size Viewer 121 Automation 122 Setting up MIDI Control 123 Setting up ReWire Control 127 Delay Compensation 129 Keyboard and Mouse Support 130 Available Shortcut Keys (PC/MAC) 132 Options Menu 134 General Options 135 Spectrum Options 137 Input/Output Options 138 EQ Options 139 Pitch Editor General Options 140 Pitch Editor Pitch Options 142 Breath Control General Options 143 iZotope Customer Support 145 Introduction Nectar was created out of a desire to provide engineers, musicians, and voice-over artists with a vocal mixing tool that could provide a great sound with just a few clicks of the mouse. Key Features n Over 200 Vocal Presets in 12 Genres giving you instant access to a wealth of vocal sounds n 10 DSP modules relevant to vocal production including Equal- izer, Compressor, De-Esser, Gate, Limiter, Saturation, Pitch Cor- rection, Reverb, Delay, FX, and Harmony n Freely adjustable signal path allowing you to rearrange the flow of all DSP modules n Simple preset system for saving your own adjustments and cre- ating new -
Wavelab 5 Brochure (Englisch)
WAVELAB 5 FEATURES General Features Audio-Montage Features DVD Audio Authoring • Real-time processing with 32-bit Floating Point accuracy • Innovative, clip-oriented editing system with • Full DVD Audio support including high resolution stereo and surround formats (all channel modes • ASIO, WDM and MME driver support outstanding performance defined in the DVD Audio specification are supported) • Support for 8-, 16-, 20-, 24-, 32-bit files with up to • Support for any output configuration from mono to • 16-bit and 24-bit resolution with up to 192 kHz 192 kHz resolution eight channels, including all standard surround formats sampling rate. WaveLab can create DVD-A disks up • Support for WAV, AIFF, AU, Ensoniq Paris 24 bit, • Direct import of split and interleaved surround files to "stereo, 24 bit, 192kHz" and "5.1, 24 bit, 48kHz", Sound Designer II, Ulaw, MP3, MP2 (M.U.S.I.C.A.M.), into separate tracks and "5.1, 16 bit, 96kHz" • Clips can be processed with up to 10 virtual effects • High resolution surround support with up to 24-bit WMA, AVI Audio, Sun/Java etc. and 48 kHz for all six channels (24- bit/96 kHz 6- • Support of Redbook Audio CD and DVD Audio • Track-based effects with up to 10 virtual effects channel surround requires MLP encoding – currently • Track volume control and surround panner with automation not supported by WaveLab 5) Now including-A Authoring full • Proprietary file format: OSQ for loss-less compression DVD of audio files for archiving • Track level meter • DVD Audio creation directly from Audio Montage • Any number