DOCSLIB.ORG

Virtual Instrument Software

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 pop (Helios console) .39.99 NUMBER-ONE-HITS.....Contemporary pop, dance, house, hip hop ....39.99 AMERICANA .................Mainstream country and rock ........................39.99 METAL-MACHINE .........3-kits, Drummer John Tempest EZ-DRUMMER.................Multi-layer drum sampler ................... 99.99 with Andy Sneap production...........................39.99 XLN AUDIO ADDICTIVE XLN AUDIO DRUMS ADPAKS ADDICTIVE DRUMS™ Add more kits and SUPPORTS: • 3 pristine-sounding drum kits- presets to Addictive Drums Tama Starclassic, Sonor Designer, with ADpaks (requires DW Collectors Series Addictive Drums) • Multi-mic setup, stored in a multi-channel format ADPACK-FUNK ...........Pearl Reference Series Kit, • Easy-to-use interface 30+ presets, 400 MIDI grooves ...................49.00 • Built-in professional effects ADPACK-METAL .........Ludwig Metal drum kit, Zildjian Cymbals, 30+ presets, recorded by Ross Robinson ... 49.00 • Production presets ADPACK-MODERN-JAZZ-B ...Premier Gen-X kit with Ludwig Acrolite snare, • Thousands of beats and fills played with brushes, 350 jazz grooves ......49.00 played by professional drummers ADPACK-MODERN-JAZZ-S ....Premier Gen-X kit with Ludwig Acrolite snare, • Drag and drop MIDI rhythms SUPPORTS: played with sticks, 300 jazz grooves .........49.00 • Full E-Drum support ADPACK-REEL-MACHINES ...5 electronic kits, recorded on analog tape with room ambience, plate reverb .............49.00 ADPACK-RETRO ........3 vintage Ludwig kits, cowbells, tambourines, ADDICTIVE-DRUMS............ Drum virtual instrument................ 149.00 hand claps, 1300+ MIDI files ................ 129.00 FXPANSION BFD-2.0 DRUM PRODUCTION WORKSTATION FXPANSION FXPANSION BFD ECO • 10 full kits, extra snares, cymbals, and more BFD2 EXPANSION PACKS • 40 presets and kits, various musical styles • Multiple mic positions, expressive Expansion packs for BFD 2.0 • 5 kicks, 6 snares and 12 toms, articulations, up to 96 velocity layers (require BFD 2.0) 11 cymbals, 3 hi-hats, percussion • User stereo multi-velocity layer sample import SUPPORTS: • Mix and match individual kit-pieces to • Route audio from 8 stereo and 16 mono build your own 12-piece kits • Internal EQ and FX slots on each channel outputs into VST, RTAS and AU hosts SUPPORTS: SUPPORTS: • 5000+ grooves ready to use in your projects • Integrated mixer includes 2 aux • EQ and FX suite containing everything from channels for adding extra BFD-DELUXE ........... Steve Albini’s Electrical Audio reverb/parallel compression flanger, bitcrusher and delay effects to circuit- expansion with 55GB of new sounds .......149.00 modeled dynamics, filtering and distortion BFD-PERCUSSION ....Vibrant percussion instruments with • Master and Direct output for each channel • Great-sounding presets let you concentrate on 26GB of new sounds ............................... 149.00 • Intuitive, user-configurable MIDI writing and playing instead of engineering BFD-BOMB ..............Big orchestral and marching band key-mapping and electronic drum support • Easy mapping for keyboard/pad controllers and automation expansion with 38GB of new sounds .......149.00 • Over 1500 Grooves, advanced humanization and audio export • Electronic drum triggering support including expressive BFD-JAZZFUNK ........BFD Jazz and Funk Collection with 55GB • FX suite includes EQ and filtering, circuit-modeled com- of pure, detailed drums ...........................249.00 pression and drive, delay, ring-mod and flanger, bitcrusher hi-hats and snare positional sensing BFD-GREATEST-HITS ...A sample selection of BFD2 kits and BFD-2.0...........................Drum production workstation .......... 199.00 sounds. Kits from Jazz and Funk, B.O.M.B. and envelope-shaper, Overloud B reverb plate algorithm BFD-2.0-UPGRADE ............Upgrade path from version 1 ...........129.00 and Percussion Expansion Packs .............. 99.00 BFD-ECO ................Acoustic drum software .............................. 29.00 OCEAN WAY DRUMS • Produced/engineered by TOONTRACK SUPERIOR 2.0 WAVEMACHINE LABS DRUMAGOG 5 Allen Sides and Steven Miller • Professional sample engine for drums • Automatically replaces drum • Multi-channel and stereo drum kits, • Recorded at the Hit Factory and Avatar Studios tracks with a variety of samples from Ocean Way Recording Studio B • Compatible with WAV, AIFF, and SUPPORTS: • The ability to read and combine all • Hand picked mic selection Superior and EZdrummer sound libraries SDII samples and libraries • Recorded through Studio B’s • Different kits can be stacked or layered • MIDI input and output capability SUPPORTS: custom, one-of-a-kind console • Includes custom MIDI played by Nir Z • New triggering engine - accurately track • Route every channel to a separate the most demanding drum tracks even SUPPORTS: stereo or mono input in your DAW • New mixer featuring bleed control, stereo mix bus, channel strip presets, individual complicated rolls and flams • Each kit includes Kick, Snare, Hi Hat, Toms • Auto-align 2.0 sample alignment algorithm (sets of 3 and 4), Ride, Crash, Splash, and China Cymbals outputs, 5 inserts, hardware controllable • Includes 5-band EQ, high and low pass filter, • Gog samples include room and mic samples • GM map, I-map and V-drum Mapping • Auto hi-hat tracking - detects the hi-hat pedal • 7200 RPM hard drive required compressor, gate and transient designer filters from Sonalksis position (open/closed) within a track • Platinum includes preinstalled 10,000RPM hard drive • Direct plug-in hosting (Platinum version) OCEANWAY-DRUMS-PLAT ......19 multichannel drum kits, SUPERIOR-DRUM-2.0.......... Professional drum replacer ......... 299.99 80GB, 24-bit/96kHz ...........................1795.00 • Built-in convolution Reverb (Platinum version) OCEANWAY-DRUMS-GOLD .....19 multi-channel drum kits, SUPERIOR-DRUM-2.0-XG .... Superior Drum 2 crossgrade • Comes with a massive 4GB drum sample collection 40GB, 24-bit/48kHz ..............................559.00 from EZdrummer ......................... 229.99 OCEANWAY-DRUMS-SILVR .....9 multichannel drum kits, EVIL-DRUM-SDX ..................Joe Barresi Evil Drums for DRUMAGOG-PRO-5 ............Pro drum replacement software ...........269.00 30GB, 24-bit/48kHz ..............................369.00 Superior Drummer ....................... 199.00 DRUMAGOG-PLATINUM-5 ..Platinum drum replacement software ..359.00 PLEASE ALWAYS CONSULT MANUFACTURER’S WEBSITE FOR MOST CURRENT SYSTEM REQUIREMENTS! VIRTUAL INSTRUMENT SOFTWARE 351 SUPPORTS: NATIVE INSTRUMENTS MASCHINE MASCHINE and MACHINE MIKRO are the ultimate integrated hardware/software sys- tems for beatmaking and professional production. Much more than a drum machine, they’re groundbreaking instruments that combine a pattern-based sequencer, profes- sional sampler, effects and an incredible sound library – united in a smooth intuitive workflow. They feature new hardware, in a choice of black or white, with highly sensi- tive multicolored pads. New software offers color-coding, new effects and more, plus the legendary synthesizer Massive. Personalize your setup with Maschine Custom Kits or check out the Maschine Stand for the perfect viewing angle. ITEM DESCRIPTION PRICE MASCHINE-MK2-BLACK ................Groove production studio, black ..............................599.00 MASCHINE-MK2-WHITE .................Groove production studio, white ..............................599.00 MASCHINE-MIKRO-MK2-B .............Compact groove production studio, black ...............349.00 MASCHINE-MIKRO-MK2-W ............Compact groove production studio, white ...............349.00 MASCHINE-STAND .........................Stand for 1st/2nd gen Maschine ...............................69.00 MASCHINE-CUSTOM-KIT................ Faceplate/knobs custom kit (2nd gen Maschine only) ...........................................69.00 DS-PC-MASCHINE .........................Dust cover for Maschine (by Decksaver).................... 69.99 DS-PC-MASCHINEMIKRO............... Dust cover for Maschine
Load more

Recommended publications
  • 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.
    [Show full text]
  • Line 6 POD Go Owner's Manual
    ® 16C Two–Plus Decades ACTION 1 VIEW Heir Stereo FX Cali Q Apparent Loop Graphic Twin Transistor Particle WAH EXP 1 PAGE PAGE Harmony Tape Verb VOL EXP 2 Time Feedback Wow/Fluttr Scale Spread C D MODE EDIT / EXIT TAP A B TUNER 1.10 OWNER'S MANUAL 40-00-0568 Rev B (For use with POD Go Firmware 1.10) ©2020 Yamaha Guitar Group, Inc. All rights reserved. 0•1 Contents Welcome to POD Go 3 The Blocks 13 Global EQ 31 Common Terminology 3 Input and Output 13 Resetting Global EQ 31 Updating POD Go to the Latest Firmware 3 Amp/Preamp 13 Global Settings 32 Top Panel 4 Cab/IR 15 Rear Panel 6 Effects 17 Restoring All Global Settings 32 Global Settings > Ins/Outs 32 Quick Start 7 Looper 22 Preset EQ 23 Global Settings > Preferences 33 Hooking It All Up 7 Wah/Volume 24 Global Settings > Switches/Pedals 33 Play View 8 FX Loop 24 Global Settings > MIDI/Tempo 34 Edit View 9 U.S. Registered Trademarks 25 USB Audio/MIDI 35 Selecting Blocks/Adjusting Parameters 9 Choosing a Block's Model 10 Snapshots 26 Hardware Monitoring vs. DAW Software Monitoring 35 Moving Blocks 10 Using Snapshots 26 DI Recording and Re-amping 35 Copying/Pasting a Block 10 Saving Snapshots 27 Core Audio Driver Settings (macOS only) 37 Preset List 11 Tips for Creative Snapshot Use 27 ASIO Driver Settings (Windows only) 37 Setlist and Preset Recall via MIDI 38 Saving/Naming a Preset 11 Bypass/Control 28 TAP Tempo 12 Snapshot Recall via MIDI 38 The Tuner 12 Quick Bypass Assign 28 MIDI CC 39 Quick Controller Assign 28 Additional Resources 40 Manual Bypass/Control Assignment 29 Clearing a Block's Assignments 29 Clearing All Assignments 30 Swapping Stomp Footswitches 30 ©2020 Yamaha Guitar Group, Inc.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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,
    [Show full text]
  • Frank Zappa, Captain Beefheart and the Secret History of Maximalism
    Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing.
    [Show full text]
  • Hiphop Aus Österreich
    Frederik Dörfler-Trummer HipHop aus Österreich Studien zur Popularmusik Frederik Dörfler-Trummer (Dr. phil.), geb. 1984, ist freier Musikwissenschaftler und forscht zu HipHop-Musik und artverwandten Popularmusikstilen. Er promovierte an der Universität für Musik und darstellende Kunst Wien. Seine Forschungen wurden durch zwei Stipendien der Österreichischen Akademie der Wissenschaften (ÖAW) so- wie durch den österreichischen Wissenschaftsfonds (FWF) gefördert. Neben seiner wissenschaftlichen Arbeit gibt er HipHop-Workshops an Schulen und ist als DJ und Produzent tätig. Frederik Dörfler-Trummer HipHop aus Österreich Lokale Aspekte einer globalen Kultur Gefördert im Rahmen des DOC- und des Post-DocTrack-Programms der ÖAW. Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 693-G Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Na- tionalbibliografie; detaillierte bibliografische Daten sind im Internet über http:// dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Li- zenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Verviel- fältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wieder- verwendung von Material aus anderen Quellen (gekennzeichnet
    [Show full text]
  • Chugens, Chubgraphs, Chugins: 3 Tiers for Extending Chuck
    CHUGENS, CHUBGRAPHS, CHUGINS: 3 TIERS FOR EXTENDING CHUCK Spencer Salazar Ge Wang Center for Computer Research in Music and Acoustics Stanford University {spencer, ge}@ccrma.stanford.edu ABSTRACT native compiled code, which is precisely the intent of ChuGins. The ChucK programming language lacks straightforward mechanisms for extension beyond its 2. RELATED WORK built-in programming and processing facilities. Chugens address this issue by allowing programmers to live-code Extensibility is a primary concern of music software of new unit generators in ChucK in real-time. Chubgraphs all varieties. The popular audio programming also allow new unit generators to be built in ChucK, by environments Max/MSP [15], Pure Data [10], defining specific arrangements of existing unit SuperCollider [8], and Csound [4] all provide generators. ChuGins allow a wide array of high- mechanisms for developing C/C++-based compiled performance unit generators and general functionality to sound processing functions. Max also allows control-rate be exposed in ChucK by providing a dynamic binding functionality to be encapsulated in-situ in the form of between ChucK and native C/C++-based compiled Javascript code snippets. Max’s Gen facility dynamically code. Performance and code analysis shows that the compiles audio-rate processors, implemented as either most suitable approach for extending ChucK is data-flows or textual code, to native machine code. situation-dependent. Csound allows the execution of Tcl, Lua, and Python code for control-rate and/or audio-rate manipulation and 1. INTRODUCTION synthesis. The Impromptu environment supports live- coding of audio-rate processors in a Scheme-like Since its introduction, the ChucK programming language [3], and LuaAV does the same for Lua [13].
    [Show full text]
  • A History of Audio Effects
    applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect.
    [Show full text]
  • 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.
    [Show full text]
  • Logic Pro 7 Product Overview September 2004 Product Overview 2 Logic Pro 7
    Logic Pro 7 Product Overview September 2004 Product Overview 2 Logic Pro 7 Contents Page 3 Introduction Page 4 Logic Pro 7 at a Glance Audio Recording and Editing MIDI Processing Notation Apple Loops Support Software Instruments Effect Plug-ins Film Scoring Features Advanced Resource Management Page 12 What’s New in Logic Pro 7? Distributed Audio Processing New Software Instruments Apple Loops Support New Plug-ins Interapplication Workflow Improvements Productivity Enhancements Page 20 Software Instruments Page 29 Effect Plug-ins Page 37 Who Uses Logic Pro 7? Page 40 Technical Specifications Product Overview 3 Logic Pro 7 Introduction Logic Pro 7 is the complete professional solution for music creation and audio production. It combines an award-winning sequencing and audio workstation application with a comprehensive set of studio-quality software instruments and audio effect plug-ins, state-of-the-art loop composition tools, and the ability to utilize networked computers for additional processing power. Logic Pro 7 expands its collection of instruments and effect plug-ins with Sculpture, a component modeling synthesizer; Ultrabeat, a drum machine; Guitar Amp Pro, an amp modeling plug-in; and more. The introduction of additional software instruments solidifies the outstanding sound generation capabilities of Logic Pro 7—both in the studio and on stage. Logic Pro 7 features optimization for the PowerPC G5 processor and seamless integration with Mac OS X, forming a highly productive system that will change the way music is composed, recorded, edited, and mixed. With distributed audio processing capability, this latest version also provides nearly unlimited processing resources through the simple addition of Macintosh computers.
    [Show full text]