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Inside This Issue from Maxi to Mini
Monthly Meeting January 26 - 7 pm iDVD Learn how to use this revolutionary program. at UConn Medical Center “Back To Basics” - 6 pm (see info on page 11) NEWSLETTER OF CONNECTICUT MACINTOSH CONNECTION, INC.JANUARY 2005 From Maxi to Mini Macworld SF 2005 By Don Dickey, Macworld San Francisco CMC president Apple CEO Steve Jobs Last year’s rage was G5s. Big ones! delivered a keynote Whether you were looking at a G5 tower presentation Tuesday, or a G5 iMac with 20" integrated dis- Jan 11, at 9 AM PT, play, you were looking at some very introducing the latest hardware and software large hardware. FireWire 800 and gigabyte ethernet. The products from Apple, low end Macs never made sense for pro- including iPod shuffle, For 2005, Apple introduced the “Mac fessional users anyway. Mac mini, iLife ’05, mini.” What is it? Imagine a stack of five iWork ’05 and audio CDs. The Mini is a skosh bigger than If you’re a current Mac user looking for an Final Cut Express that, but not much. What’s it got? A G4 easy upgrade, the Mini represents a very HD and more. processor with most of the ports you’d get good value. This is especially true if you in an iMac, eMac, or iBook. What’s it already have a decent monitor which You can watch Apple’s Steve missing? Well, a keyboard and mouse, to would “go to waste” if you bought an iMac Jobs deliver the Macworld mention a couple! Yes, you do need them, or eMac. -
Touchpoint: Dynamically Re-Routable Effects Processing As a Multi-Touch Tablet Instrument
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Touchpoint: Dynamically Re-Routable Effects Processing as a Multi-Touch Tablet Instrument Nicholas K. Suda Owen S. Vallis, Ph.D California Institute of the Arts California Institute of the Arts 24700 McBean Pkwy. 24700 McBean Pkwy. Valencia, California 91355 Valencia, California 91355 United States United States [email protected] [email protected] ABSTRACT Touchpoint is a multi-touch tablet instrument which pre- sents the chaining-together of non-linear effects processors as its core music synthesis technique. In doing so, it uti- lizes the on-the-fly re-combination of effects processors as the central mechanic of performance. Effects Processing as Synthesis is justified by the fact that that the order in which non-linear systems are arranged re- sults in a diverse range of different output signals. Be- cause the Effects Processor Instrument is a collection of software, the signal processing ecosystem is virtual. This means that processors can be re-defined, re-configured, cre- Figure 1. The sprawl of peripherals used to control IDM ated, and destroyed instantaneously, as a “note-level” mu- artist Tim Exile’s live performance. sical decision within a performance. The software of Touchpoint consists of three compo- nents. The signal processing component, which is address- In time stretching, pitch correcting, sample replacing, no- ed via Open Sound Control (OSC), runs in Reaktor Core. ise reducing, sound file convolving, and transient flagging The touchscreen component runs in the iOS version of Le- their recordings, studio engineers of every style are reg- mur, and the networking component uses ChucK. -
ACID Pro Professional Digital Audio Workstation
VERSION 7 ACID Pro Professional Digital Audio Workstation CORE FEATURES Fast and intuitive, ACID™ Pro 7 is a real creative partner. Blend multitrack recording, audio editing and mixing, MIDI recording and sequencing, and state of the art loop-based music production in a seamless environment • A DAW powerhouse tailored to your unique creative process. ACID Pro 7 delivers maximum performance at every level, with high- • Record multitrack high-resolution resolution multitrack audio recording, deep MIDI programming capabilities, and of course the distinctive real- audio • The ultimate loop-based music time pitch and tempo controls that place ACID software in a class by itself. Produce any type of music in ACID creation tool Pro 7 and transform your ideas into real results. • Full MIDI recording, sequencing, and editing • Dedicated mixing console with fl exible routing architecture • Full VST plug-in and instrument support • Includes 90 virtual instruments • Control surface support • Interactive tutorials CONTENTS • ACID™ Pro 7 software • More than 3,000 Sound Series loops and samples • Garritan Aria for ACID Pro sample playback engine and custom content library Powerful digital audio workstation environment • ACID Pro E ects Rack powered • Combine audio recording, MIDI composition, and loop-based music creation by iZotope™ • Sonoma Wire Works KitCore™ software • Mix on a customizable console with fl exible routing architecture • ACID Pro 7 Quick Start manual • Output to ASIO-compatible devices for maximum hardware integration • Keyboard commands shortcut list Comprehensive MIDI support For a complete list of ACID Pro 7 • Record, edit, and fi lter note and controller data features and technical specifi cations, • Address virtual instruments and record/edit/automate controller data go to sonycreativesoftware.com • Freeze MIDI tracks to save CPU processing power You must provide registration information to Sony Creative Software Mixing and editing Inc., a US company, in order to activate • Real-time pitch and tempo matching, shifting, and scaling the software. -
Audio Codec 120
Audio codec 120 click here to download Opus is a totally open, royalty-free, highly versatile audio codec. Opus is unmatched for interactive speech and music transmission over the Internet, but is also. Opus is a lossy audio coding format developed by the www.doorway.ru Foundation and standardized Opus supports constant and variable bitrate encoding from 6 kbit/ s to kbit/s, frame sizes from ms to ms, and five sampling rates from 8 . The RTP audio/video profile (RTP/AVP) is a profile for Real-time Transport Protocol (RTP) that specifies the technical parameters of audio and video streams. RTP specifies a general-purpose data format, but doesn't specify how. stereo audio codec (ADC and DAC) with single-ended Output Spectrum (– dB, N = ) f – Frequency – kHz. – – – – – – – 0. 0. The IETF Opus codec is a low-latency audio codec optimized for both voice and . in [RFC] can be any multiple of ms, up to a maximum of ms. IP Audio decoder with USB/Micro SD flash interface and serial port. Support of Internet Radio (AACplus, MP3, shoutcast, TCP streaming) and VoIP (SIP, RTP). V Mono Audio Codec with V Tolerant. Digital Interface . Transition Band. 5. kHz. Stop Band. kHz. Stop-Band Attenuation. dB. Group Delay. The SGTL is a low-power stereo codec is designed to provide a comprehensive audio solution for portable products that require line-in, mic-in, line-out. Opus has already been shown to out-perform other audio codecs at .. encoder now adds support for encoding packets of 80, , and Sonifex PS-PLAY IP to Audio Streaming Decoder Sonifex PS-SEND Audio to IP Streaming Encoder . -
Izotope Stutter Edit Mac
1 / 2 Izotope Stutter Edit Mac Download iZotope Stutter Edit 1 05c Stutter Edit is a MIDI controlled plug-in that lets you create a beat-repeating effect, or “Stutter”, automatically synced to your DAW tempo.. 13 2 Master rhythm with iZotope’s Stutter Edit, a real-time audio manipulation plug-in for electronic performance and sound design—designed by BT.. Year of manufacture : 2017Version : 1 0 5Developer : iZotopeDeveloper’s site : iZotopePlatform : iNTELFormat : VST, VST3, RTAS, AUBit depth : 32bit, 64bitLanguage : EnglishTablet : Files for copyingSystem requirements : Mac: OS X 10.. He cuts sound material into small pieces and rebuilds them into clear rhythmic effects, allowing him to reproduce a technique that would take many hours in the studio.. Izotope Stutter Edit Free DownloadIzotope Stutter FreeStutter Edit is the first collaboration between iZotope and composer and electronic musician Brian Transeau (BT).. With just the press of a key, switch between an extensive bank of over 800 individual. Izotope Stutter Edit Free DownloadDescription : Stutter Edit was created by iZotope in collaboration with composer and musician Brian Transeau (BT).. Slicing and dicing audio into microscopic fragments and then processing and filtering the slices in real time is what Stutter Edit is all about.. 6 8-10 13 (Intel only) Please be aware: We are currently investigating a known issue with Apple Logic Pro X on MacOS High Sierra 10.. Mac: OS X 10 8 5 Mountain Lion–macOS 10 15 Catalina 5, Digital Performer 9, FL Studio 12, Logic Pro X, Nuendo 8, Pro Tools 10–12, Reaper 5, Reason 10, Studio One 3–4 Stutter Edit works. -
The Use of Music Technologies in Field Education Courses and Daily Lives of Music Education Department Students (Sample of Atatürk University)∗
Universal Journal of Educational Research 6(5): 1005-1014, 2018 http://www.hrpub.org DOI: 10.13189/ujer.2018.060521 The Use of Music Technologies in Field Education Courses and Daily Lives of Music Education ∗ Department Students (Sample of Atatürk University) Gökalp Parasiz Department of Fine Arts Education, Necatibey Education Faculty, Balıkesir University, Balıkesir, Turkey Copyright©2018 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Technology-oriented tools/devices have long situations. been an indispensable part of music as well as music Technology and education are branches of science in education for many years. It is of great importance in music their own right and they have different theories and education for students and teachers and the future of music techniques but they are used together to improve quality in to follow closely and use the technological developments learning and teaching environments. This use reveals a new in the present age in which technology directs the future. discipline, namely education technology [10]. Today, both The aim of this research is to determine the use of information content and technological developments are technology and music technologies in music training rapidly changing and spreading. These formations students' field education courses in general and to naturally affect learning-teaching styles [16]. The determine the contribution of technology in both learning development of technology affects both the structure of the and application fields both individually and in general education system and the learning-teaching activities. -
LDAC: Experience Your N8 Through a Wireless Hi-Res Connection
LDAC: Experience your N8 through a wireless Hi-Res connection (1) Introduction Bluetooth has always been considered as a convenient but low quality option for audiophiles. The situation was changed dramatically in past few years when new codec such as AAC and aptX gained popularity, and the latest LDAC Bluetooth codec developed by Sony has added fuel to the fire. LDAC allows streaming audio up to 24Bit/96kHz over a Bluetooth connection, and it has made full use of the bandwidth, offering a connection speed up to 990 kbps. LDAC employs a hybrid coding scheme to squeeze the Hi-Res audio data into the limited bandwidth. It comes with 3 connection modes: quality priority (990 kbps), normal (660 kbps), and connection priority (330 kbps) respectively. The playback quality will be compromised when only lower speed options are feasible (either hardware limitation of environment constraint). LDAC is a lossy compression codec. At Quality Priority mode, Sony promised CD- quality playback at quality priority mode and from what has been announced, 16Bit/44.1kHz bitstream will be transmitted as-is without any compression. LDAC is used across a wide range of Sony products, including headphones, speakers, mobile phones, portable player and home theater systems. When Google announced Android O (aka Android 8.0 Oreo) at Mar. 2017, the mobile industry was surprised that Sony has become an Android partner and played a key role to improve the wireless audio capability of Android devices. Among the features enhancements and bug fixes, LDAC will be available as a part of the core Android Open Source Project (AOSP) code, enabling OEMs to support this Sony codec in their Android 0 devices freely. -
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. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
USER's GUIDE Ver. 1.0EN
R2 USER’S GUIDE ver. 1.0 EN THANK YOU FOR PURCHASING A COWON PRODUCT. We do our utmost to deliver DIGITAL PRIDE to our customers. This manual contains information on how to use the product and the precautions to take during use. If you familiarize yourself with this manual, you will have a more enjoyable digital experience. Product specification may change without notice. Images contained in this manual may differ from the actual product. 2 COPYRIGHT NOTICE Introduction to website + The address of the product-related website is http://www.COWON.com. + You can download the latest information on our products and the most recent firmware updates from our website. + For first-time users, we provide an FAQ section and a user guide. + Become a member of the website by using the serial number on the back of the product to register the product. Y ou will then be a registered member. + Once you become a registered member, you can use the one-to-one enquiry service to receive online customer advice. Yo u can also receive information on new products and events by e-mail. General + COWON® and PLENUE® are registered trademarks of our company and/or its affiliates. + This manual is copyrighted by our company, and any unauthorized reproduction or distribution of its contents, in whole or in part, is strictly pr ohibited. + Our company complies with the Music Industry Promotion Act, Game Industry Promotion Act, Video Industry Promotion Act, and other relevant la ws and regulations. Users are also encouraged to comply with any such laws and regulations. -
Drum Loop Dj Software
282 DRUM LOOP DJ SOFTWARE AVID TORQ® FXPANSION GEIST DJ PERFORMANCE SOFTWARE SAMPLING DRUM MACHINE •DJ performance and real-time production •Sample, slice, sequence, mix, software from the makers of Pro Tools arrange, effect, & resample •4 full-featured decks for loading and •Dirac3™ time-stretch/pitch-shift playing files, each with EQ, level control, •Powerful full-featured slicing headphone cueing, and crossfade and detection/classification SUPPORTS: •Cue, beat-match, and mix digital audio files •30 effect types including DCAM (including MP3, AIFF, WAV, WMA, AAC and CD audio) circuit-modeled filters/dynamics/drive & •Traq Morph™ for crossfading and transitions Overloud Breverb algorithms •13 built-in effects, sampler, and advanced looping functionality •Pattern sequencing, scene switching •Organize digital audio files (including iTunes libraries) •Integrated song mode, real-time record & retro capture into an updated, easily searchable database •Step-automation for parameters, Intuitive & powerful browser SUPPORTS: •Standalone operation for functionality w/o dedicated hardware •Full MIDI and audio export NATIVE INSTRUMENTS •Integrate Torq 2.0 with turntables, CD decks, •Runs as a plug-in (VST/RTAS/AU) and standalone TRAKTOR PRO 2 and a variety of popular DJ controllers •Exclusive sounds and presets from •ReWire support for Pro Tools and other DAWs many popular electronic music artists •Professional DJ software, integrating industry-stan- dard workflows into an intuitive and stylish interface TORQ-2.0................. DJ Perfomance Software, -
The Wireless Networking Starter Kit, Second Edition
TheWireless Starter Kit Second Edition The practical guide to Wi-Fi networks for Windows2 and Macintosh By Adam Engst and Glenn Fleishman Peachpit Press Index 64-bit WEP standard, 299 Linksys BEFW11S4 gateway, 802.15.1-2002 standard, 36 195–201 # 802.3 standard, 444 long-range connections, 397 104-bit WEP, 298, 299 802.15 standard, 36. See also Blue- overview, 10, 12–13 128-bit WEP, 299 tooth packet overhead, 12 10Base-2 cable, 445 802.15.4 standard, 36 throughput, 10, 12 10Base-5 cable, 444 802.16 standard, 46–47 Wi-Fi certification, 11 10Base-T cable, 445–446 802.11 standards, history of wire- wireless gateway support, 178–179 100Base-T cable, 446, 448 less networking, 9–10 802.11d standard, 44, 46 1000Base-T cable, 448–449 802.16 (WiMax), 46–47 802.11e standard, 43, 44 1xRTT (Radio Transmission 802.11 Wireless Networks: The 802.11f standard, 44 Technology), 2.5G networks, 41 Definitive Guide, xxi 802.11g standard and networks 2.4 GHz band 802.15.3a standard, 36, 53 channels, 18 802.11b standard, 12 802.11a standard and networks compatibility among standards, 10, Bluetooth, 35–38 channels, 14 15, 17–18, 178–179 Fresnel zone, 431 compatibility among standards, 10, determining need for, 178–179 and solid objects, 5 15, 178–179 frame bursting technology, 16–17 troubleshooting interference, 274 cost of equipment, 15 history of wireless networking, 9, unlicensed frequencies, 4 determining need for, 178–179 ixx Wireless MAN (Wireless FCC regulations, 430 interference, avoiding and trouble- Metropolitan Area Networking) history of wireless networking,