DOCSLIB.ORG

Impact Ix49-61 DAW Integration Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impact Ix49-61 DAW Integration Guide User Guide www.nektartech.comwww.nektartech.com Nektar Impact iX49 & iX61 User Guide Index Page Bitwig Studio Setup & Configuration 3 Bitwig Studio and Impact iX Working Together Cubase/Nuendo Setup & Configuration 5 Cubase/Nuendo and Impact iX Working Together Digital Performer Setup & Configuration 7 Digital Performer and Impact iX Working Together GarageBand Setup & Configuration 9 GarageBand and Impact iX Working Together Logic Setup & Configuration 11 Logic and Impact iX Working Together Reaper Setup & Configuration 13 Reaper and Impact iX Working Together Reason Setup & Configuration 15 Reason and Impact iX Working Together Sonar Setup & Configuration 17 Sonar and Impact iX Working Together Transport Control without Nektar DAW Integration 19 USB Port Setup & Factory Restore 20 2 Nektar Impact iX49 & iX61 User Guide www.nektartech.com Bitwig Studio Setup and Configuration The Impact iX Bitwig Studio Integration has been verified to work with Windows Vista, 7 and 8 as well as OS X 10.6 or higher. Neither Windows XP or Linux compatibility has been tested. If you are running Impact iX on a Windows XP or Linux system, please contact Nektar support for manual installation instructions. Setup Here are the steps you need to go through to get Bitwig Studio up and running with your Impact iX: Make sure Bitwig Studio is already installed on your computer. If not, please install Bitwig Studio first and open Bitwig Studio at least once, before running the installer for Nektar DAW integration software. With Bitwig Studio installed, locate the “Impact_Bitwig_Support” file in the folder that you downloaded from “My Downloads” on www.nektartech.com after registering your product Run the installer and follow the on-screen instructions. See note for OSX. Plug-in your Impact iX and make sure it’s switched on (if you didn’t do so already) Launch Bitwig Studio and go to Options/Preferences/Controllers Click “Detect available controllers”. Your Impact iX should now appear in the list. OSX Note: Click “Ok” and exit Device Setup. If you get a message that the installer “can’t be opened because it’s from an unindentified That’s it, setup is now complete. developer”, do the following: Go to System Preferences/Security & Sys- tems/General and switch “Allow apps down- loaded from” to “Anywhere”. www.nektartech.com Nektar Impact iX49 & iX61 User Guide 3 Bitwig Studio and Impact iX49 Working Together With installation complete, it’s time to take a look at how the Impact iX49 integrates with Bitwig Studio. Launch Bitwig Studio. Create a few audio tracks Move the fader all the way up and down. The Bitwig Studio mixer volume for the currently selected track is now controlled by the fader on your Impact iX49. To avoid parameter jumping we also implemented soft-takeover. Read the section at the bottom of this page for more information about how that works. Next, press the [Octave Down] + [Transpose Down] buttons at the same time. This assigns the 4 round buttons to control transport functions in Bitwig Studio. Now press the [Octave Down] button. It activates Play. [Octave Up] activates Record and press [play] again to stop. The two Transpose buttons are assigned to Rewind and Forward. Press the [Octave Down] + [Transpose Down] buttons at the same time to return to controlling Octave and transpose with the buttons. You can also assign the Transpose buttons to control track or patch change in your DAW. Here’s how you assign the two buttons to change the track in Bitwig Studio: Press the [Setup] button. The LED above the button will blink and the color is orange to indicate setup is active. Press the key D#2 (labeled “Track”) on your iX keyboard to assign the Track Select function. Press Enter (C5). This will accept the change and exit Setup. Pressing the Transpose up/down buttons will now allow you to step through tracks in your DAW. The process for assigning the buttons to change the patch in your virtual instrument is the same, only press E2 instead of D#2. If you are not getting the results described, please check your installation one more time as well as the Nektar support tab on our website www.nektartech.com Soft Take-Over When changing tracks and adjusting Bitwig Studio’s mixer volume with a control, you would normally experience parameter jumping. This happens when a control’s physical position is not the same as the position of the parameter you are controlling. When you move the control, the parameter therefore jumps to the value the control is sending out. To avoid parameter jumping when using the fader, your Impact iX is equipped with Soft Take-Over. This means that if the fader is not in sync with current channel volume, moving the fader will not cause a change, until it’s position matches the value of the parameter. Try changing tracks in Bitwig Studio and move the iX49 fader on each track to get a feel for how this works. 4 Nektar Impact iX49 & iX61 User Guide www.nektartech.com Cubase/Nuendo Installation and Setup The Impact iX Cubase Integration is compatible with Cubase 6, 6.5 and 7, Elements, Artist, AI, LE as well as Nuendo 5 or later. Earlier version may be compatible but check the Nektar support website for additional information: www.nektartech.om/support These instructions assumes you have a compatible Cubase or Nuendo program installed running on either Windows (Vista, 7, 8 or higher) or Mac OS X 10.6 or higher. Throughout we talk about Cubase but the same instructions apply to Nuendo. Installation Locate the “Impact iX DAW Integration” folder on the included DVD Image 1 or download it from “My Downloads” on www.nektartech.com after registering your product Run the “Impact_Steinberg_Support” installer and follow the on-screen instructions Image 2 Plug-in your Impact iX and make sure it’s switched on (if you didn’t do so already) Launch Cubase and go to Devices/Device Setup/MIDI Port Setup Image 3 Un-tick the second Impact iX port in the “In ‘All MIDI’” column. The second port is named “MIDIIN2 (IMPACT iX)” (image 1) in Windows and “Impact iX Port 2” in OS X (image 2) Next check that Impact iX appears in the Device Setup list (image 3) Click “Ok” and exit Device Setup. That’s it, setup is now complete and you can move on to the fun part, learning how it all works. www.nektartech.com Nektar Impact iX49 & iX61 User Guide 5 Cubase/Nuendo and Impact iX49 Working Together With installation complete, it’s time to take a look at how the Impact iX49 integrates with Cubase and Nuendo. In the below, we refer only to Cubase but Impact iX49 works the same way with Nuendo. Launch Cubase. Create a few audio tracks Move the fader all the way up and down. The Cubase mixer volume for the currently selected track is now controlled by the fader on your Impact iX49. To avoid parameter jumping we also implemented soft-takeover. Read the section at the bottom of this page for more information about how that works. Next, press the [Octave Down] + [Transpose Down] buttons at the same time. This assigns the 4 round buttons to control transport functions in Cubase. Now press the [Octave Down] button. It activates Play. [Octave Up] activates Record and press [play] again to stop. The two Transpose buttons are assigned to Rewind and Forward. Press the [Octave Down] + [Transpose Down] buttons at the same time to return to controlling Octave and transpose with the buttons. You can also assign the Transpose buttons to control track or patch change in your DAW. Let’s assign the two buttons to change the track in Cubase: Press the [Setup] button. The LED above the button will blink and the color is orange to indicate setup is active. Press the key D#2 (labeled “Track”) on your iX keyboard to assign the Track Select function. Press Enter (C5). This will accept the change and exit Setup. Pressing the Transpose up/down buttons will now allow you to step through tracks in your DAW. The process for assigning the buttons to change the patch in your virtual instrument is the same, only press E2 instead of D#2. If you are not getting the results described, please check your installation one more time as well as the Nektar support tab on our website www.nektartech.com Soft Take-Over When changing tracks and adjusting Cubase mixer volume with a control, you would normally experience parameter jumping. This happens when a control’s physical position is not the same as the position of the parameter you are controlling. When you move the control, the parameter therefore jumps to the value the control is sending out. To avoid parameter jumping when using the fader, your Impact iX is equipped with Soft Take-Over. This means that if the fader is not in sync with current channel volume, moving the fader will not cause a change, until it’s position matches the value of the parameter. Try changing tracks in Cubase and move the iX49 fader on each track to get a feel for how this works. Notice that the setup button’s LED is used to indicate whether you should move the fader up or down to pick up the value of the mixer channel volume. Orange means up and red means down. If the LED is green, it means the fader is in sync with the Cubase channel volume. 6 Nektar Impact iX49 & iX61 User Guide www.nektartech.com Digital Performer Setup and Configuration The Impact iX integration for MOTU's Digital Performer is compatible with Digital Performer 8.
Load more

Recommended publications
  • Products of Interest
    Products of Interest Universal Audio Apollo Audio from the company’s 2192 interface The front panel of the interface is used here and can be viewed features two combination balanced Interface 1 at almost any angle. The Apollo XLR/jack inputs; two 4 -in. Hi-Z, The Apollo, from Universal Audio, interface supports Core Audio and instrument/line, balanced inputs; is a high-resolution 18 × 24 digital ASIO drivers, and is compatible with and a stereo headphone output. A audio interface designed to deliver all well-known DAWs on Macintosh further four channels of analog inputs the sound of analog recordings (see and Windows operating systems. A and six outputs, all on balanced TRS Figure 1). The interface is available Console application and Console jack ports, are located on the rear with two or four processors, which al- Recall plug-in allow the user to panel. The microphone pre-amplifiers low the audio to be recorded through control and recall the settings for the are taken from the UFX interface UAD-2 powered plug-ins with less interface and plug-in for individual and offer 64 dB gain and overload than 2 msec latency. The user can also sessions. The Apollo has a 19-in., 1U protection. The convertors have a low mix and master using these proces- rack space chassis. latency design, with 14- and 7- sample sors, without drawing from the host The Apollo DUO Core model is latency reported for the A-D and computer processor. The microphone listed for US$ 1,999 and the QUAD D-A convertors respectively.
    [Show full text]
  • Digital Performer Plug-Ins Guide
    Title page Digital Performer ® 10 Plug-in Guide 1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Technical support: (617) 576-3066 Tech support web: www.motu.com/support Web site: www.motu.com ABOUT THE MARK OF THE UNICORN LICENSE AGREEMENT receipt. If failure of the disk has resulted from accident, abuse or misapplication of the AND LIMITED WARRANTY ON SOFTWARE product, then MOTU shall have no responsibility to replace the disk(s) under this TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and Limited Warranty. conditions of the “click-wrap” license agreement presented to you when you install THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF, AND YOU the software. Using the software or this documentation indicates your acceptance of HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH EXPRESS AND IMPLIED, the terms and conditions of that license agreement. INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY AND FITNESS Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation. FOR A PARTICULAR PURPOSE. THE LIABILITY OF MOTU PURSUANT TO THIS LIMITED Both the program and the documentation are protected under applicable copyright, WARRANTY SHALL BE LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND trademark, and trade-secret laws. Your right to use the program and the IN NO EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE LIABLE documentation are limited to the terms and conditions described in the license FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING BUT NOT LIMITED TO agreement.
    [Show full text]
  • Informatique Et MAO 1 : Configurations MAO (1)
    Ce fichier constitue le support de cours “son numérique” pour les formations Régisseur Son, Techniciens Polyvalent et MAO du GRIM-EDIF à Lyon. Elles ne sont mises en ligne qu’en tant qu’aide pour ces étudiants et ne peuvent être considérées comme des cours. Elles utilisent des illustrations collectées durant des années sur Internet, hélas sans en conserver les liens. Veuillez m'en excuser, ou me contacter... pour toute question : [email protected] 4ème partie : Informatique et MAO 1 : Configurations MAO (1) interface audio HP monitoring stéréo microphone(s) avec entrées/sorties ou surround analogiques micro-ordinateur logiciels multipistes, d'édition, de traitement et de synthèse, plugins etc... (+ lecteur-graveur CD/DVD/BluRay) surface de contrôle clavier MIDI toutes les opérations sont réalisées dans l’ordinateur : - l’interface audio doit permettre des latences faibles pour le jeu instrumental, mais elle ne nécessite pas de nombreuses entrées / sorties analogiques - la RAM doit permettre de stocker de nombreux plugins (et des quantités d’échantillons) - le processeur doit être capable de calculer de nombreux traitements en temps réel - l’espace de stockage et sa vitesse doivent être importants - les périphériques de contrôle sont réduits au minimum, le coût total est limité SON NUMERIQUE - 4 - INFORMATIQUE 2 : Configurations MAO (2) HP monitoring stéréo microphones interface audio avec de nombreuses ou surround entrées/sorties instruments analogiques micro-ordinateur Effets logiciels multipistes, d'édition et de traitement, plugins (+
    [Show full text]
  • Multi–Channel, 24Bit/192Khz Audio Interface for the Macintosh User's
    Multi–Channel, 24bit/192kHz Audio Interface for the Macintosh User’s Guide v1.1 – October 2006 User’s Guide Table of Contents Owners Record ............................................................................................................. 2 Introduction................................................................................................................... 3 Getting Started Quickly.......................................................................................... 4–7 1. Installing software ............................................................................................ 4 2. Hardware connections....................................................................................... 4 3. OS X configuration ............................................................................................ 5 4. iTunes playback................................................................................................. 5 5. DAW configuration ............................................................................................ 6 6. Recording .......................................................................................................... 7 General Operation................................................................................................... 8–11 Making Settings with Software Control Panels ...................................................... 8 Making Settings with Ensemble’s Front Panel Encoder Knobs ............................... 8 Setting Sample Rate .............................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Kitcore Guide Version
    AU, RTAS, and VST plug-in Version 2.0 for Windows XP and Vista and Mac OS X Submersible Music 505 Fifth Avenue South, Suite 900 505 Union Station Seattle, WA 98104 www.submersiblemusic.com Copyright Samplitude is a registered trademark of Magix AG. © 2008 Submersible Music Inc. All rights reserved. This guide may not be reproduced or transmitted in whole or in part in Sonar is a registered trademark of Twelve Tone Systems, Inc. any form or by any means without the prior written consent of Submersible Music Inc. ASIO is a trademark of Steinberg Soft- und Hardware GmbH. KitCore™, DrumCore®, and Gabrielizer ™ are trademarks or registered trademarks of Submersible Music Inc. All other ReWire™ and REX™ by Propellerhead, © Propellerhead trademarks found herein are the property of their respective Software AB. owners. All trademarks contained herein are the property of their Pentium is a registered trademark of Intel Corporation. respective owners. AMD and Athlon are trademarks of Advanced Micro Devices, All features and specifications of this guide or the DrumCore Inc. product are subject to change without notice. Windows and DirectSound are registered trademarks of Microsoft Corporation in the United States and other countries. Mac, Power Mac, PowerBook, MacBook, and the Mac and Audio Units logos are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. ACID, ACID Music Studio, and ACID Pro are trademarks or registered trademarks of Madison Media Software, Inc., a subsidiary of Sony Corporation of America or its affiliates in the United States and other countries. Digital Performer is a registered trademark of Mark of the Unicorn, Inc.
    [Show full text]
  • DAW Control Manual
    ModelMultitrack Recording Console12 DAW Controlmode MANUAL Introduction Contents Overview The Model 12 has DAW control functions. By setting it to DAW Introduction .............................................................................. 2 control mode, its controls can be used for basic operation of Overview .................................................................................................... 2 the DAW application. This includes fader operation, muting, Trademarks ................................................................................................ 2 panning, soloing, recording, playing, stopping and other transport functions. Model 12 operations ................................................................ 3 Mackie Control and HUI protocol emulation are supported, so Preparing the unit ................................................................................... 3 Cubase, Digital Performer, Logic, Live, Pro Tools, Cakewalk and Connecting with a Computer ....................................................... 3 other major DAW applications can be controlled. Starting DAW control mode .......................................................... 3 Ending DAW control mode ............................................................ 3 MTR/USB SEND POINT screen settings ...................................... 4 Trademarks Mixer controls that can be used when in DAW control mode... 5 USB audio input and output when in DAW control mode ....... 6 o TASCAM is a registered trademark of TEAC Corporation. Making
    [Show full text]
  • Schwachstellen Der Kostenfreien Digital Audio Workstations (Daws)
    Schwachstellen der kostenfreien Digital Audio Workstations (DAWs) BACHELORARBEIT zur Erlangung des akademischen Grades Bachelor of Science im Rahmen des Studiums Medieninformatik und Visual Computing eingereicht von Filip Petkoski Matrikelnummer 0727881 an der Fakultät für Informatik der Technischen Universität Wien Betreuung: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Mitwirkung: Univ.Lektor Dipl.-Mus. Gerald Golka Wien, 14. April 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Disadvantages of using free Digital Audio Workstations (DAWs) BACHELOR’S THESIS submitted in partial fulfillment of the requirements for the degree of Bachelor of Science in Media Informatics and Visual Computing by Filip Petkoski Registration Number 0727881 to the Faculty of Informatics at the Vienna University of Technology Advisor: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Assistance: Univ.Lektor Dipl.-Mus. Gerald Golka Vienna, 14th April, 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Erklärung zur Verfassung der Arbeit Filip Petkoski Wienerbergstrasse 16-20/33/18 , 1120 Wien Hiermit erkläre ich, dass ich diese Arbeit selbständig verfasst habe, dass ich die verwen- deten Quellen und Hilfsmittel vollständig angegeben habe und dass ich die Stellen der Arbeit – einschließlich Tabellen, Karten und Abbildungen –, die anderen Werken oder dem Internet im Wortlaut oder dem Sinn nach entnommen sind, auf jeden Fall unter Angabe der Quelle als Entlehnung kenntlich gemacht habe. Wien, 14. April 2016 Filip Petkoski v Kurzfassung Die heutzutage moderne professionelle Musikproduktion ist undenkbar ohne Ver- wendung von Digital Audio Workstations (DAWs).
    [Show full text]
  • Comparing Programming and Music Composing
    2020 IEEE 20th International Conference on Advanced Learning Technologies (ICALT) The Role of Music in 21st Century Education - Comparing Programming and Music Composing Samuli Laato Sampsa Rauti Erkki Sutinen Dept. of Future Technologies Dept. of Future Technologies Dept. of Future Technologies and Dept. of Education University of Turku University of Turku University of Turku Turku, Finland Turku, Finland Turku, Finland sjprau@utu.fi erkki.sutinen@utu.fi sadala@utu.fi Abstract—21st century skills are being added onto K-12 II. BACKGROUND educational curricula globally, often via integrating them into existing subjects such as math. Simultaneously music teaching A. Music Composing and Programming in K-12 education is losing relevance and popularity. Yet, music Music notations share similarities with computer program theory contains logical structures which are in many regards similar to program code. Additionally the digitization of music code. Classically trained musicians are able to read sheet production requires composers to effectively use digital music music i.e. musical code and execute it accurately based on production tools and associated technology. We investigate the how the composer intended [6]. Sheet music still leaves room opportunities technology-assisted music composing offers for for interpretation in terms of, for example, note velocity, teaching 21st skills and programming in K-12 education through type of vibrato, timbre etc [6]. In programming the computer expert interviews with professional music composers (n=4) and programmers (n=5). Analysis of the similarities and differences in executes program code, however arguably doing less errors the thought processes between creating software and composing and interpretation in the process compared to human musicians music revealed the latter to have potential for teaching the playing a score.
    [Show full text]
  • Pro Tools Setup For
    V 2.0 MOTU Digital Performer Setup Guide Revised: 13-12-00 Digital Performer and the Digital 328 Contents 11Introduction 2 2 MIDI Setup 3 3 Digital 328 Settings 6 4 Digital Performer “Virtual” Mixer Settings 8 5 Transport Control Setup 11 6 Digital 328 Automation 15 7 Digital Performer & the 328 19 8 Automating A Mix 21 9 Using two Linked Consoles 24 10 Using two Linked Consoles 25 Digital Performer Setup Guide 1 1 Introduction This Setup Guide is for interfacing Mark Of The Unicorn’s Digital Performer with the Digital 328. As the MIDI features of Digital Performer and Performer are identical, this guide will refer to Digital Performer for setup illustration. AudioDesk and Performer users should be able to implement most of the procedures described in this document. This guide assumes that you have a working knowledge of the Macintosh environment and a familiarity with Digital Performer and the Digital 328. The procedure will show the user how to integrate MIDI CONTROLLER BANK on the 328 as a limited control surface for the internal mixer within Digital Performer. This guide will also outline the steps to take to allow automated control of the 328 from Digital Performer. You must have Digital Performer 2.61 or later, Performer 6.0 or later and FreeMIDI 1.41 or later to achieve results outlined in this guide. Digital Performer uses MIDI Control Change parameters to control the Virtual Mixer found in Digital Performer, and the 328 is perfectly suited for this task. There may be limitations in the operation of the Digital 328 as a control surface for Digital Performer, yet these limitations are inherent to the design of software, and therefore must be accepted as such.
    [Show full text]
  • Metadefender Core V4.17.3
    MetaDefender Core v4.17.3 © 2020 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of MetaDefender Core 14 1. Quick Start with MetaDefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Process Files with MetaDefender Core 21 2. Installing or Upgrading MetaDefender Core 22 2.1. Recommended System Configuration 22 Microsoft Windows Deployments 22 Unix Based Deployments 24 Data Retention 26 Custom Engines 27 Browser Requirements for the Metadefender Core Management Console 27 2.2. Installing MetaDefender 27 Installation 27 Installation notes 27 2.2.1. Installing Metadefender Core using command line 28 2.2.2. Installing Metadefender Core using the Install Wizard 31 2.3. Upgrading MetaDefender Core 31 Upgrading from MetaDefender Core 3.x 31 Upgrading from MetaDefender Core 4.x 31 2.4. MetaDefender Core Licensing 32 2.4.1. Activating Metadefender Licenses 32 2.4.2. Checking Your Metadefender Core License 37 2.5. Performance and Load Estimation 38 What to know before reading the results: Some factors that affect performance 38 How test results are calculated 39 Test Reports 39 Performance Report - Multi-Scanning On Linux 39 Performance Report - Multi-Scanning On Windows 43 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3.
    [Show full text]
  • Home Studio Center Best Daws of 2016
    Home Studio Center Best DAWs of 2016 www.homestudiocenter.com Best DAWs of 2016 How to Choose a DAW That Inspires You Finding a DAW is like finding a partner. Once you commit, you’re in it for the long game. Sure, you can flirt around. You can open a different one up every time you sit at your computer. But without committing to one DAW, you won’t get the benefits that come with a long term relationship. When you find the best DAW for you and settle down you can: ● Finally figure out all the advanced features ● Avoid the frustration that comes with learning a new piece of software ● Produce music with greater ease and efficiency ● Focus on what matters (the music) I’m not here to give you dating advice. Everyone has their type, and I don’t know yours. Instead, I want you to think about what your goals are. Do you spend more time writing music, or mixing music? Do you want a DAW that does one specific job well, or an all rounder? Once you have figured out what you’re looking for in a DAW, ​you can choose the best DAW for you. In this article, I will present you with the best DAWs of 2016. Look through this list and choose the DAW that suits your needs. Once you have made a decision, stick to it. Learn it inside out. Use the stock plugins. Become intimate with it (heh). The better you know your DAW, the better your results will be. 1 Best DAWs of 2016 Pro Tools 12 This is perhaps the most popular DAW in the professional world.
    [Show full text]