Digital Performer Plug-Ins Guide
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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. -
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. -
El Padre Del Sinte Y, Quizá, El Hombre Más Influyente En La
Pioneros FM BOB MOOG La gente corriente conoce muy pocos nombres de creadores de instrumentos –Stradivarius, Hammond, Wurlitzer, Fender, Gibson… y por supuesto, Moog OB MOOG, en una revista de electrónica. EL padre del De repente, en plena adolescencia, sintetizador y, “El padre del sinte y, ya estaba haciendo y vendiendo kits con quizá, el hombre su pequeña empresa R.A. Moog Co. más influyente quizá, el hombre más En 1961, siendo todavía un estudiante, en la música publicó un diseño de theremin a durante las transistores del cual vendió más de mil últimas cinco influyente en la música unidades, bien como kits de montaje Bdécadas, murió el pasado 21 de Agosto. de los últimos 50 años” o como instrumentos finalizados. Tenía 71 años –una edad respetable para A partir de entonces, conoció muchos, pero no para él. Cualquiera al pionero de la música electrónica que haya podido compartir algún Raymond Scott, quien producía jingles momento con el entrañable Bob antes para importantes cadenas de TV de que le diagnosticaran un tumor cerebral en disfrutar durante unas horas de su inspiradora, con su enorme muro de equipos electrónicos. Abril de este mismo año, te confirmará que carismática y entrañable compañía. Es posible que aquello le inspirase, porque estaba lleno de energía, humor y vitalidad, así Por no molestar, Moog prefería viajar en tren a principios de los 60, Moog presentó, que es una auténtica pena que no haya podido o en autobús antes que aceptar el ofrecimiento de posiblemente, la mayor revolución de la música seguir algunas décadas más entre nosotros. -
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 ............................................................................................. -
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. -
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. -
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 -
Immer Wieder Breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer
_ g 058 test minimoog voyager select Immer wieder breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer Eigentlich muss man über den Minimoog Voyager nicht mehr viele Worte verlieren. Das Instrument gilt nicht nur unter Freaks als das absolute Sahneteil in Sachen „Analogsound-mitten-ins-Gesicht“. Dass wir diesem Ausnahmefetisch trotzdem erneut ein paar Zeilen widmen, hat damit zu tun, dass das Teil jüngst ein neues Gewand bekommen hat. Und – ach ja! – ein paar Neuigkeiten gibt’s auch zu berichten. text: Dr. Stefan Albus fotos: Dieter Stork, Archiv Im Ernst: Auch wem es völlig egal ist, ob die des Panels zu entzücken weiß (Fire, Blue, Solar, Voyager ist ein kleines, unscheinbares Poti Bässe, mit denen er seinen Groove dahermal- Lunar und Jade). Die Story hinter diesem opti- rechts neben der Tastatur, das der Regelung der men lässt, aus einem Renderer oder aus echter schen Update ist schnell erzählt: Bereits 2004 Hintergrundbeleuchtung dient. Seine Wirkung Elektronik kommen, der dürfte seinen Hut zie- brachte Moog eine „Electric Blue“ getaufte, sei hier nur trocken umrissen: Bei Rechtsdre- hen ob der Jahre, die der Minimoog Voyager schwarz-blaue Gary-Numan-Style-Variante der inzwischen auf dem Buckel hat. Fünf Lenze: Das Maschine heraus. Folge: Gib den Leuten den profil ist schon was in einer Branche, und manche kleinen Finger und ... Jedenfalls hofft man bei Keyboarder fragen sich, ob sie eigentlich noch Moog, dass mit den neuen „Selects“ die vielen Hersteller / Vertrieb: Instrumente oder Fashion-Items spielen. Anfragen nach individuell eingetönten Instru- Moogmusic / Und sicher auch ein legitimer Grund, dem Voyager menten erst mal abebben. -
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). -
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. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
ORIGINAL GAME SOUNDTRACK —— Disc 1 —— Act I 1
ORIGINAL GAME SOUNDTRACK —— Disc 1 —— Act I 1. Hostility 5:22 2. Survival 4:44 3. Exile 6:33 4. Refinement 5:12 5. Complexity 5:30 6. Goliath 2:40 Act II 7. Darkness Eternal 4:36 8. Europa 7:51 9. Regrowth 8:20 10. Really Cold Pain 4:36 11. Meddler 5:24 12. Taurus 3:59 13. Tetrahedron 6:16 14. Enhancement 6:55 —— Disc 2 —— Act III 1. Plus Ultra 6:00 2. Unmanned 6:30 3. Far Flung 7:44 4. Discovery 5:06 5. Spiral Tide 5:33 6. Hidden Grind 3:03 Extras 7. Prepare For Overload 2:28 8. Simulator 1:58 9. Aggression 3:04 10. Tunnel 1:34 11. Decompression 1:27 12. Failure 2:40 13. Beale 1:35 14. Trinidad 1:25 15. Revival 1:21 16. Approach 1:49 17. Evacuation 0:22 18. Level Up 6:44 Total runtime 2:32:54 The soundtrack to Overload is a collection of original game music from artists around the world. Although they have unique musical backgrounds and histories, they share in common a passion for immersive platforms with untethered freedom and full control. Such an experience is Overload. Dan Wentz (Disc 1 Tracks 7, 9-12. Disc 2 Tracks 6-15, 17, 18) danwentz.com soundcloud.com/daniel-wentz It is a great honor and thrill to be involved in this project and I hope you enjoy the results of all of the hard work. I especially enjoyed seeing some familiar faces again and working on a common vision together.