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Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual
Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual.......................................................1 2 Introduction To Renoise...........................................................................2 2.1 Main Screen Overview.....................................................................................2 2.1.1 Upper Status Bar.....................................................................................3 2.1.2 Global Song Control................................................................................3 2.1.3 Song Visualisation...................................................................................3 2.1.4 Loading & Saving Files............................................................................3 2.1.5 Selecting Instruments.............................................................................4 2.1.6 Creating & Editing Instruments...............................................................4 2.1.7 GUI presets.............................................................................................5 2.1.8 Sequencing Patterns...............................................................................5 2.1.9 Creating Patterns....................................................................................5 2.1.10 Applying Effects....................................................................................6 2.1.11 Lower Status Bar...................................................................................6 2.2 Guide -
Interview Matthias Juwan
Studio One inventor Matthias Juwan in conversation Created by Lukas Ruschitzka When I learned about the »new« DAW for the first time at the Musikmesse 2009, I still had no idea what would connect me to this software over the next 10 years. One year later, in the summer of 2010, I had version 1 on the hard drive and star- ted producing my first song with Studio One. Now - almost a decade and hundreds of Studio One projects later - I did not miss the opportunity to ask Matthias Juwan, Studio One mastermind and CTO at Pre- Sonus Software a few questions about the creation and development of Studio One. In doing so, I have incorporated both my own questions and questions that have arisen in the RECORDING.de forum in recent years. I hope you enjoy reading the unabridged interview with Matthias Juwan! Matthias, Studio One will be 10 years old this year! In 2009 everyone was wonde- ring what they needed a new DAW for. Meanwhile, Studio One has become indispensable in the DAW market. What was the trigger for you to program the first prototype of Studio One? Everything started for me a few years earlier. When I released my 16-track freeware sequencer Kristal Audio Engine in 2004, there was a lot of positive feedback from the internet community and the press, and I decided to work on a more professional suc- cessor. The project ran for two years in my spare time in addition to the job as a soft- ware developer at Steinberg under the code name K2. -
Openmpt Manual Help Document and Function Reference 1
OpenMPT Manual Help Document And Function Reference 1 Introduction Acknowledgments This manual, like OpenMPT itself, was created by a group of voluntary contributors to be able to offer a single, well-written, consistent and up-to-date help document for OpenMPT. It is largely based on the original works of Harbinger and his Offline Help Manual [1], which he wrote over the course of many years. It is very well possible that this manual still contains wrong facts, incomplete or hard to understand sections. Errors do not fix themselves, so you are invited to join our wiki at http:/ / wiki. openmpt. org/ where you can edit, fix and extend the manual’s source. OpenMPT is or has been maintained by: Name Years of activity Contact (@opеnmpt.өrg) Johannes Schultz 2008 - 2012 sagamusix Ahti Leppänen 2005 - 2011 relabs Robin Fernandes 2004 - 2007 rewbs Sergiy Pylypenko 2007 pelya Eric Chavanon 2004 - 2005 ericus Trevor Nunes 2004 plastik_s Olivier Lapicque 1997 - 2003 olivier Further code has been contributed by coda, kode54 and xaimus. This manual has been generated on September 22, 2012. References [1] http:/ / forum. openmpt. org/ index. php?topic=4387. 0 About OpenMPT 2 About OpenMPT What is Open ModPlug Tracker? To put it simply, Open ModPlug Tracker (OpenMPT) has always been and will always be an application that makes it easy to compose music. Using mostly a text-based event editing system, plus several expanded features including MIDI input and VST plugins, this free software has enough user-friendliness and flexibility to please all composers from the EDM tracker to the experimentalist to the classical composer. -
Music Scoring for Film Using Fruity Loops Studio
E3S Web of Conferences 188, 00004 (2020) https://doi.org/10.1051/e3sconf/202018800004 ICESTI 2019 Music Scoring for Film Using Fruity Loops Studio Arsya Febrian1, Hestiasari Rante1, Sritrusta Sukaridhoto1, and Akhmad Alimudin2 1Department of Creative Multimedia Technology, Politeknik Elektronika Negeri Surabaya, Jl. Raya ITS-Sukolilo, Surabaya, East Java, 60111 Indonesia 2Department of Computer Science and Engineering, Toyohashi University of Technology, Tempaku, Toyohashi 441-8580, Japan Abstract. Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films. Keywords: Digital audio workstation, instrument, music for film, music production, soundtrack. 1 Introduction Determination and placement of audio aspects into visual form are things done in the music scoring process [1]. Scores are original music written specifically for individual films. Sometimes called soundtracks, movie scores can be extremely recognizable. -
60S Rogers Pop Kit
Drumdrops 60s Rogers Pop Kit Manual 1 The information in this document is subject to change without notice and does not represent a commitment on the part of Drumdrops. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Drumdrops. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instruments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Contact Us Drumdrops 36 Leroy Street London SE1 4SP United Kingdom www.drumdrops.com 2 Table of Contents 1. Introduction (p.5) 2. About the 60s Rogers Pop Kit (p.7) 2.1 The Drum Kit (p.8) 2.2 The People (p.9) 2.3 The Recording Studio - The Bridge (p.11) 2.4 The Mixing Studio - The Square (p.11) 2.5 The Recording Equipment (p.12) 3. The Samples Packs (p.17) 3.1 The Multi-Velocity and Single Hits Packs (p.14) 3.1.1 Pack Contents (p.14) 3.1.2 Sampler Patches (For Kontakt, Battery, Drum Rack and EXS) (p.15) 3.1.3 Drum Machine Patches (For Maschine, Geist, Studio One Impact and iDrum) (p.17) 3.1.4 Software -
Logic Pro 7 Reference Manual
Logic Pro 7 Reference Manual Apple Computer, Inc. © 2004 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, Aqua, Final Cut, Final Cut Pro, FireWire, iBook, iMac, iPod, iTunes, Logic, Mac, Macintosh, Mac OS, PowerBook, Power Mac, Power Macintosh, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Finder and GarageBand are trademarks of Apple Computer, Inc. AppleCare is a service mark of Apple Computer, Inc. Helvetica is a registered trademark of Heidelberger Druckmaschinen AG, available from Linotype Library GmbH. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products. -
Linux Audio Conference 2019
Proceedings of the Linux Audio Conference 2019 March 23rd – 26th, 2019 Center for Computer Research in Music and Acoustics (CCRMA) Stanford University, USA “In Ping(uins) e trust! Published by CCRMA, Stanford University, California, US March 2019 All copyrights remain with the authors http://lac.linuxaudio.org/2019 ISBN 978-0-359-46387-9 Credits Layout: Frank Neumann and Romain Michon Typesetting: LATEX and pdfLaTeX Logo Design: The Linuxaudio.org logo and its variations copyright Thorsten Wilms c 2006, imported into "LAC 2014" logo by Robin Gareus Thanks to: Martin Monperrus for his webpage "Creating proceedings from PDF files" ii Partners and Sponsors Linuxaudio.org iii iv Foreword Welcome everyone to LAC 2019 at CCRMA! For the second time in its seventeen year history, the Linux Audio Conference (LAC) is hosted in the United Stated of America by the Center for Computer Research in Mu- sic and Acoustics (CCRMA) at Stanford University. With its informal workshop-like at- mosphere, LAC is a blend of scientific and technical papers, tutorials, sound installations, and concerts centered on the free GNU/Linux operating system and open-source free soft- ware for audio, multimedia, and musical applications. LAC is a unique platform during which members of this community gather to exchange ideas, draft new projects, and see old friends. In these times of increasing political tensions and of rising extremism throughout the world, we believe that emphasizing and promoting the universality of this type of event is of the utmost importance. The Linux audio community exists worldwide; we believe it should remain a priority to diversify LAC’s geographical location from year to year for the benefit of those who can’t afford to travel to the other side of the world. -
Beginners Guide to Music Production
Beginners Guide To Music Production It’s MusicTech’s guide to everything you need to know about music production: from recording to mixing to mastering. Welcome to our Beginners Guide Are you new to music production? Or are you returning to music making and need a refresher in certain aspects of recording, mixing and mastering? If either of these applies, then you’ve come to the right place. We’re going to explain all of the main principles of music technology and music production in as straightforward a way as possible. Read the following and you should be in a good place to start (or restart) your music making, whether as a hobby, semi-professionally or even as a career. So Where Do We Start? The basics of a composition or song are its constituent parts i.e. the instruments (guitar, drums, bass, keyboards and so on) and the vocals. These are the ‘tracks’ and the core of the music production process is simply how you get the sounds together for each track, arrange them, mix them together and make them sound ‘professional’. The device that enables all of this – and which has become the heart of the 21st century studio – is the humble computer: a Mac, PC or increasingly, portable devices like tablets and iPads. Sequencers/DAW‘s More specifically, of course, it’s the software that the computer runs that turns it in to a music production powerhouse. This software enables the recording, mixing and mastering of music tracks and is called a ‘sequencer’ or the rather grander-sounding ‘Digital Audio Workstation’ (DAW). -
Podcasting Second Edition
Podcast Solutions The Complete Guide to Audio and Video Podcasting Second Edition Michael W. Geoghegan and Dan Klass Podcast Solutions: The Complete Guide to Audio and Video Podcasting, Second Edition Copyright © 2007 by Michael W. Geoghegan and Dan Klass All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without the prior written permission of the copyright owner and the publisher. ISBN-13 (pbk): 978-1-59059-905-1 ISBN-10 (pbk): 1-59059-905-5 Printed and bound in the United States of America 9 8 7 6 5 4 3 2 1 Trademarked names may appear in this book. Rather than use a trademark symbol with every occurrence of a trademarked name, we use the names only in an editorial fashion and to the benefit of the trademark owner, with no intention of infringement of the trademark. Distributed to the book trade worldwide by Springer-Verlag New York, Inc., 233 Spring Street, 6th Floor, New York, NY 10013. Phone 1-800-SPRINGER, fax 201-348-4505, e-mail [email protected], or visit www.springeronline.com. For information on translations, please contact Apress directly at 2855 Telegraph Avenue, Suite 600, Berkeley, CA 94705. Phone 510-549-5930, fax 510-549-5939, e-mail [email protected], or visit www.apress.com. The information in this book is distributed on an “as is” basis, without warranty. Although every precaution has been taken in the preparation of this work, neither the author(s) nor Apress shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the information contained in this work. -
Weniger Kopf, Mehr Flow
WORKBEAT Ideengeber: Tracker Ideengeber: Tracker Weniger Kopf, mehr Flow Ursprünglich als Editor für frühe Commodore- und Amiga-Games entwickelt, galten Tracker lange als Spielzeug für geniale Nerds. Mit der Software Renoise erlebten sie um den Millenniums-Wechsel ein Comeback, das bis heute andauert und alle gängigen Vorstellungen von Trackern auf den Kopf gestellt hat: Wer mit minimalen Mitteln wahrhaft neue Musik produzieren möchte, kommt ohne sie nicht mehr aus. von Tobias Fischer und Marco Scherer Kohl, MacGyver, Tracker ren und sich direkt in den Code der Maschine Um Renoise als Phänomen besser zu verste- einzuklinken. Damit ließen sich Ideen mit hen, muss man sich ein Vierteljahrhundert atemberaubender Geschwindigkeit umsetzen zurück begeben – in eine Zeit, als Helmut Kohl und man konnte in Bereiche vordringen, von noch Kanzler war, MacGyver noch nicht Cit- denen traditionell denkende Anwender nicht roën fuhr und der Commodore Amiga als Non- einmal geträumt hätten. plusultra der IT-Industrie galt. Es war eine Zeit, Auch wenn sich Tracker ganz vorzüglich in der den Komponisten von Game-Musik eini- für kompositorische Skizzen eignen, tut man ges abverlangt wurde. Schließlich erlaubten die ihnen aber Unrecht, wenn man sie nur als edle- softwaretechnischen Begrenzungen der meis- res Notizbuch betrachtet. Vielmehr vollzieht ten Spiele ihnen gerade mal zwanzig Sekun- man als Produzent mit dem Einsatz eines Tra- den kurze Passagen, welche endlos geloopt ckers den Wechsel von einem objektorientier- wurden. ten Denken zu einem prozessorientierten Flow, Dank Renoise gelten Tracker m Sommer 2012 waren Besucher der in ein- Als Entwickler Karsten Obarski von einem werden Tracks, statt in den üblichen Schablo- inzwischen als großartige schlägigen Kreisen populären Seite Synthto- Freund den Auftrag für einen Soundtrack nen zu verlaufen, wieder zu Reisen ins Unge- Kreativ-Werkzeuge und pia dazu aufgerufen, die ihrer Meinung nach erhielt, erschien ihm das sofort als extrem ein- wisse. -
Fully Supported PRO Audio (And Video) Hardware Interfaces for the AV Linux
FROM GLEN MACARTHUR Fully supported PRO audio (and video) hardware interfaces for the AV Linux Table of content □ Table of content Fully Working Devices..................................................................................................3 Audio ........................................................................................................................ 3 Mixers........................................................................................................................ 8 Video......................................................................................................................... 8 Midi, Controllers, Expanders...................................................................................9 All In One................................................................................................................ 10 Some Other Audio Midi Devices................................................................................10 To confirm with further tests or validation..............................................................15 USB Interface Devices................................................................................................16 PCI Interface Devices.................................................................................................17 Firewire Interface Devices.........................................................................................18 Click the green items even little green squares for navigation ! Pdf created by Mohamed Ramdan using LibreOffice -
Music 15 Lecture 5
Music 15 Lecture 5 Wednesday, Feb 12, 2020 Lecture Outline 1. Announcements 2. Section Information 3. Quiz Review a. Terminology b. Readings 4. One-on-one help Announcements ● Quiz: Tomorrow, Feb 13, during main lecture ○ Estimated duration is 45 minutes ○ Mostly multiple choice ○ No cheat sheets, notes, or open textbooks Announcements - Q&A posted last Monday What is the best way for me to study for this quiz? I think the best way to study for the quiz would be to do the following: 1. Complete the assigned readings in the textbook 2. Study the terminology 3. Review what you did in the last 3 homework assignments 4. Come to the section lecture this week to participate in my quiz review How do I find what's most important in the book? I don't know what Professor Dubnov will include on the quiz, so unfortunately I can't recommend you focus on specific chapters or sections from the readings over others. In short, everything from the readings is important. However, at the very least, you should study the review sections from each chapter. Announcements - Q&A posted last Monday The professor said which pages are important for the book. However, the ebook doesn't have page numbers, so how do I know what to read? I've attached a document that has the required readings for the quiz. To avoid confusion caused by page number discrepancies between different versions of the textbook (or a lack of page numbers in the case of the ebook), I made reference only to section headings.