DOCSLIB.ORG

Mixcraft-9-Manual.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mixcraft-9-Manual.Pdf USER MANUAL Written by Mitchell Sigman and Joseph Clarke Design and layout by Mitchell Sigman and Alan Reynolds TABLE OF CONTENTS Getting Started . 6 Mixcraft 9 Home Studio Limitations . 7 Important Sound Setup Information . 8 Quick Start. 10 Registration. 18 Mixcraft Reference .. 19 Loading and Saving Projects . 32 Tracks Types and Controls . 37 Using Clips and the Main Clip Grid . 58 MIDI Basics . 69 Recording MIDI Tracks . 71 Recording Audio Tracks. 78 Details Tabs - Viewing and Undocking . 86 Project Tab. 89 Sound Tab . 90 MIDI Editors: Clips . 102 MIDI Editors: Piano Roll Editor . 111 MIDI Editors: Step Editor . 120 MIDI Editors: Score Editor . 127 Sound Editor . 131 Mixer Tab . 139 Library Tab . 149 Performance Panel . 171 Video Tracks and Editing . 186 Automation and Controller Mapping . 210 Mixing Down To Audio and Video Files . 229 Burning Audio CD’s . 235 Markers . 237 Using Effects . 243 Included Effects . 254 Using Virtual Instruments . 285 Included Virtual Instruments . 297 Alpha Sampler . 306 Omni Sampler . 311 Acoustica Vocoder . 320 Plug-In Management .. 327 ReWire . 330 Using Natively Supported Hardware Controllers . 332 Using Generic MIDI Controllers and Control Surfaces . 339 Musical Typing Keyboard (MTK) .. 342 Preferences . 344 Main Window Menus . 364 Keyboard Shortcuts . 375 Cursors . 381 Troubleshooting . 385 Glossary . 397 Appendix 1: Using Melodyne For Basic Vocal Tuning. 402 Appendix 2: Backing Up Mixcraft Projects and Data . 407 Appendix 3: Nifty Uses For Output Bus Tracks . 409 Appendix 4: Freesound Org. Creative Commons License Terms . 413 Appendix 5: Natively Supported Hardware Controllers . 415 Appendix 6: Copyrights and Trademarks . .. 416 GETTING STARTED Welcome to Mixcraft 9, a powerful recording DAW software offering the tools and performance power to create professional music and video projects... easily! ABOUT THE MANUAL This manual was written to provide a full walkthrough of the steps that an artist may encounter when using Mixcraft. It manual provides a range of step-by-step instructions and explanations of all of Mixcraft’s features. We’ll also throw in some helpful tips “outside-the-box” tips (usually in a sidebar on the right side of the page). We recommend viewing in Adobe Acrobat Viewer. If you don’t have already have Acrobat, you can download it free from Adobe (a quick Google search will find the correct installer for your system.) Blue underlined text indicates links to other sections of this manual. You may want to jot down the page you’re on prior to clicking these links, as most PDF viewers don’t have a “go back to where I was” function. Italicized text usually means we’re referring to the same control or dialog text on the screen, or on your computer’s QWERTY keyboard. CHECKING FOR UPDATES Acoustica periodically provides updates to software. You can easily obtain these updates through Acoustica’s website. To check for updates, go to the Help menu at the top of the screen and choose Check For Update... ADDITIONAL HELP We’ve made a heck of an effort to include as much Mixcraft 9 information as possible in this manual, but if you get stumped, contact Acoustica tech support online at www.acoustica.com and click the Support link. Mixcraft also has a lively online forum with tons of useful archived information and support not only from the Acoustica tech support staff, but seasoned Mixcraft users as well. Find it at www.acoustica.com, click Support, then Discussion Boards. Welcome to the Acoustica family... we hope you’ll enjoy Mixcraft 9 and make some great music (and video) along the way! 6 MIXCRAFT 9 HOME STUDIO LIMITATIONS Mixcraft is available in three different versions: Mixcraft 9 Home Studio, Mixcraft 9 Recording Studio, and Mixcraft 9 Pro Studio. In order to offer Mixcraft 9 Home Studio at such an affordable price, it sacrifices some features compared with its big brothers. Below is a summary of its reduced feature set: Feature Limits System bit-depth compatibility 32-bit compatible only Tracks sixteen total audio and instrument tracks Performance Panel eight sets Automation pan and volume only Sound Library 6500+ loops and sound effects Virtual Instruments Acoustica Instruments, Impulse, Messiah, MiniMogueVA, VB3 Organ Samplers Alpha Sampler (Omni Sampler not included) Effect Plug-ins Acoustica Chorus, Acoustica Compressor, Acoustica Delay, Acoustica Distortion, Acoustica EQ, Acoustica Flanger, Acoustica Reverb, Classic Auto-Filter, Classic Chorus, Classic Compressor, Classic Delay, Classic EQ, Classic Flanger, Classic Master Limiter, Classic Phaser, Classic Reverb, EZQ Equalizer, GTune Guitar Tuner, Voxengo Amp Simulator, Voxengo Spectrum Analyzer Submix, Send, and Output Tracks no Audio Mixdown Formats MP3, WAV, WMA, OGG Video Mixdown Formats MP4, WMV, AVI CD Burning yes MIDI/Audio FX Routing no ReWire Hosting no Import To Library no 7 IMPORTANT SOUND SETUP INFORMATION When Mixcraft is first launched, it’s important to ensure that the audio latency is optimally set. Ideally, using a very low latency setting is best, as it results in little or no audible delay when playing virtual instruments or recording using software monitoring. Your computer’s processor speed and amount of RAM, as well as your audio system or sound card all affect audio playback and recording performance. Optimally adjusting your sound device will be a balancing act between latency versus gapping or breaks in continuous sound. If you are recording audio using Mixcraft’s built-in monitoring or playing virtual instruments, you’ll need to adjust your latency response properly. CHOOSING AN AUDIO DRIVER TYPE 1. Click File> Preferences... 2. Click on the Sound Device tab. 3. Wave RT was introduced in Windows Vista and is part of every newer version of Windows; this the default audio driver. If you have a slower computer, you may need to increase the latency setting. 4. If you’re using Windows 7 or 8, you may be able to click WaveRT Exclusive Mode. Depending on your computer’s speed and power, this mode will allow down to three milliseconds of latency. In this mode, other programs will lose audio capability when Mixcraft is running. You may need to restart other programs to get their audio back. WaveRT exclusive mode is the best way to use every last ounce of computing power. 5. If you don’t have WaveRT, the next best option is ASIO. If it’s grayed out, go to your sound device or sound card manufacturer’s website and install the latest drivers. Click on the ASIO Device flip menu and choose the sound device or sound card you wish to use. You can adjust the settings of the ASIO device by clicking “Open Mixer.” Each ASIO driver is implemented differently; consult the manual or help for your sound device in order to optimize the latency setting. Ensure that Default Output (Playback) is set to the correct device so you’ll hear audio properly. 8 6. If you don’t have Vista or an ASIO option enabled, select Wave. To reduce latency, Right On Track decrease the Number Of Buffers and reduce the Buffer Size. The Latency field will You may notice that update - this will entail a bit of trial and error as adjustments are made. Click OK, Mixcraft won’t allow then check the quality of audio playback. A setting of 100 milliseconds or less is you to drop the loop tolerable; lower settings of 20 milliseconds or less are preferred. on a track with a little keyboard icon; that’s QUICK GLANCE CHART because these are MIDI tracks. Make sure to drag audio loops to Type Notes audio tracks, i.e. tracks WaveRT The default option. Latency down to 20 milliseconds. with a loudspeaker icon. Mixcraft actually WaveRT Exclusive Takes over the computer’s audio, but will work down has a number of to three milliseconds of latency. This option is available different track types when WaveRT is selected. Audio from other programs optimized for different and Windows will not work at the same time that you are purposes, but while in this mode. we’re in “quick startville,” we’ll just ASIO Best for playback and recording synchronization. Must concern ourselves with have a supported ASIO driver for your sound device. audio tracks, that play digitized audio, and Wave Only use if absolutely necessary. MIDI tracks, that play note on/off messages. COMPUTER SPEED CONSIDERATION If you have a slower computer and experience audible breaks in audio recording or playback, you may need to increase the latency setting. Alternatively, you may need to purchase a higher performance sound card or audio system designed with music recording and playback in mind. Changing the latency will depend on what type of audio driver is used. See the Choosing An Audio Driver Type section on the previous page for more information. Another effective speed enhancement is to defragment your hard drive, or purchase a new hard drive. (Old hard drives can get slow with age.) Notice the CPU meter on the lower right corner of Mixcraft.This indicates the amount of CPU resources used by Mixcraft compared to the entire computer’s CPU usage. 9 QUICK START “I don’t wanna read this big ol’ manual now, I wanna rock!” (or thereabouts). Don’t worry, we’ve got ya covered. In this section, we’ll show how to play audio clips from Mixcraft’s huge included library, record audio and MIDI tracks, and add effects. LOAD AND PLAY AN AUDIO CLIP To launch Mixcraft, double-click the Mixcraft 9 icon on the desktop. We’ll begin by dragging an audio clip of a bass line into the Main Window - that’s the big gray grid where clips of audio, MIDI, and video playback. Click the Library tab at the bottom of the arrange window, then click the Library pop- menu and and select Loops.
Load more

Recommended publications
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
    [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]
  • ON the NET 24 Hours in Cyberspace
    MARCH 1996 $5.75 E2.00 NNW ./ JO' . f r TIE INTERNATIONAL .+' TECHNICAL MAGAZINE FOR PRO AUDIO, POSTPRODUCTION & BROADCAST EXCLUSIVE ON THE NET 24 Hours in Cyberspace 03 HO 9 77014/.59401 7 www.americanradiohistory.com Oizce in a while a product comes along that is so unique, so powerful, that it c_ianges the way we look at things. Such a product is the Ap_iex 661 Compressor Limiter- creating a new standard by combining four Aphex irtventior s. A skillfully engineered instrument of unprecedented tlexib_lity, ea ;e of use and sonic eecellence. Tubessence® - true vacuum tube technology and warmth; High Frequency Expander (HFX)TM for automatically retaining the high frequencies lost during compression; Easyrider® circuitry for an Auto mode that really works; and the world's best VCA - the Aphex 1001, the fastest, most accurate and transparent available. The Aphex Model 661 - another revolutionary step toward improving the way the world sounds. APHEX Improving the way the world soundsd sm Tel: 818 -767 -2929, Fax: 818 -767 -2641 Y A T I V 11068 Randall Street, Sun Valley, CA 91352 www.americanradiohistory.com Editorial Tim Goodyer redesigns humans to suit today's machines Soundings Show news from MacWorld Expo, a report from the (AS (onference and developments from around the world of pro -audio International Columns Reports from Studio Sounds columnists in Europe, America and the Far East Hoboken's Waterfront Studio boasts two classic early 1970s EMI World Events The only exhaustive show and convention consoles and a wealth of unusual vintage
    [Show full text]
  • Reference Manual
    1 6 - V O I C E R E A L A N A L O G S Y N T H E S I Z E R REFERENCE MANUAL February 2001 Your shipping carton should contain the following items: 1. Andromeda A6 synthesizer 2. AC power cable 3. Warranty Registration card 4. Reference Manual 5. A list of the Preset and User Bank Mixes and Programs If anything is missing, please contact your dealer or Alesis immediately. NOTE: Completing and returning the Warranty Registration card is important. Alesis contact information: Alesis Studio Electronics, Inc. 1633 26th Street Santa Monica, CA 90404 USA Telephone: 800-5-ALESIS (800-525-3747) E-Mail: [email protected] Website: http://www.alesis.com Alesis Andromeda A6TM Reference Manual Revision 1.0 by Dave Bertovic © Copyright 2001, Alesis Studio Electronics, Inc. All rights reserved. Reproduction in whole or in part is prohibited. “A6”, “QCard” and “FreeLoader” are trademarks of Alesis Studio Electronics, Inc. A6 REFERENCE MANUAL 1 2 A6 REFERENCE MANUAL Contents CONTENTS Important Safety Instructions ....................................................................................7 Instructions to the User (FCC Notice) ............................................................................................11 CE Declaration of Conformity .........................................................................................................13 Introduction ................................................................................................................ 15 How to Use this Manual....................................................................................................................16
    [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]
  • Improved Audio Filtering Using Extended High Pass Filters
    International Journal of Engineering Research & Technology (IJERT) ISSN: 2278-0181 Vol. 2 Issue 6, June - 2013 Improved Audio Filtering Using Extended High Pass Filters 1 2 Radhika Bhagat Ramandeep Kaur Department of Computer Science & Engineering, Guru Nanak Dev University Amritsar, Punjab, India Abstract—Noise Filtering in audio signals has always been a challenge since the noise is spread across a large bandwidth and overlaps the spectral range of the audio signal being recovered. In audio systems all these can be kept below the audible level but ambient noise may not be avoided even if the audio system is designed according to the best practices. So, there have been several audio filtering techniques such as spectral subtraction, Dolby noise reduction, use of low-pass and high pass filters, FIR and IIR filtering, etc. Noise filtering improvements were assessed for both noise reduction and signal degradation effects by different signal to noise ratio computations. Keywords: Audio Filtering, Low Pass Filters, High Pass Filters, FIR Filters, IIR Filters. I. INTRODUCTION With the development of communication technology, voice communication has become a major communication medium for people to transmit information more convenient. However, the widespread nature of noise makes the voice communication quality has declined. Therefore, to reduceIJERTIJERT the noise on the performance of voice communications, improve the quality of voice communications [1], voice denoising for technology has become a hot research topic. In this paper we will discuss various audio filtering techniques that will help in overcoming noise related issues. Audio Filter: - Is a frequency dependent amplifier circuit, working in the audio frequency range,0Hz- beyond 20 KHz.
    [Show full text]
  • SSB and the Phasing Exciter Hints and Kinks for Best Performance and Being Nice to One’S Neighbor’S
    SSB and the Phasing Exciter Hints and Kinks for Best Performance and Being Nice to One’s Neighbor’s Nick Tusa – K5EF How is SSB Generated? Brute Force v. Elegance A Tug or War in the 1950s One way is to design a steep-sided Steep-sided filters was expensive in the bandpass filter that passes one 1940-early 50s. Required carefully sideband and hugely attenuates the selected and ground individual crystals other. or expert machining of temperature- stable materials for a mechanical filter. Or Or We can use a mathematical analog of phase relationships to cancel the Audio filters having linear phase shift unwanted sideband and reinforce made with inexpensive Rs and Cs. the desired sideband. In Amateur Circles, Phasing Led the Way Don Norgaard really got the Amateur Ball rolling with his SSB, Jr. published in GE HAM News. (Refer to George W1LSB’s SSB discussion at last year’s W9DYV Event and CE website). Companies such as CE, Lakeshore Industries, Eldico, Johnson, Hallicrafters, Heathkit, B&W and others produced exciters using the Phasing Principal. By the late 1950s, filter technology improved and costs dropped, pushing Phasing aside…at least until the Software Defined Radio came along… Basic Phasing SSB Exciter Audio Phase Shift Linearity is Key to SB Suppression The AF Phase Shifter must maintain 90° differential across 300-3500Hz audio band. Small deviations result in degraded SB suppression i.e., a 2˚ difference = 35db suppression. Typical CE 10A/20A based on the Norgaard design = 40db if perfect! Central Electronics PS-1 Network Based on Norgaard’s SSB, Jr design.
    [Show full text]
  • User's Manual
    USER’S MANUAL PROGRAMMING: Thomas Diligent Robert Bocquier Adrien Courdavault Mathieu Nocenti SOUND DESIGN: Luca Torre (Multis) Michael Hosker (All) Ted James (Jupiter8V) Matthew Sevant (ProphetV) Knowlton Walsh (MiniV) Matt Sterling (Arp 2600V) Ted James (CS80V) MANUAL: Randy Lee Pierce Warnecke Tomoya Fukushi Noritaka Ubukata Antoine Back Thomas Diligent DESIGN: Shaun Ellwood Morgan Perrier © ARTURIA SA – 1999-2014 – All rights reserved. 30, Chemin du Vieux Chene 38240 Meylan FRANCE http://www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. October 2014 edition 2 ARTURIA – Analog Lab – USER’S MANUAL Thank you for purchasing Arturia’s Analog Lab! This manual covers the features and operation of Arturia’s Analog Lab, a software synthesizer that allows you to play and modify over 5,000 sounds. After the purchase of this software you will receive its serial number and an unlock code by e-mail. This information enables you to register the software online. Once you have registered your software you will receive an activation code by e-mail that will allow you to authorize the software for use on your computer.
    [Show full text]
  • Computer Mediated Music Production: a Study of Abstraction and Activity
    Computer mediated music production: A study of abstraction and activity by Matthew Duignan A thesis for the degree of Doctor of Philosophy in Computer Science. Victoria University of Wellington 2008 Abstract Human Computer Interaction research has a unique challenge in under- standing the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis exam- ines the ways in which abstraction mechanisms present in music production systems interplay with producers’ activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiqui- tous multitrack-mixing metaphor and present design implications for future systems. ii Acknowledgements I would like to thank my supervisors Robert Biddle and James Noble for their endless hours of guidance and feedback during this process, and most of all for allowing me to choose such a fun project. Michael Norris and Lissa Meridan from the Victoria University music department were also invaluable for their comments and expertise. I would also like to thank Alan Blackwell for taking the time to discuss my work and provide valuable advice. I am indebted to all of my participants for the great deal of time they selflessly offered, and the deep insights they shared into their professional world.
    [Show full text]
  • Automation: from Consoles to Daws
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2016 Automation: From Consoles to DAWs Christian Ekeke California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Education Commons Recommended Citation Ekeke, Christian, "Automation: From Consoles to DAWs" (2016). Capstone Projects and Master's Theses. 41. https://digitalcommons.csumb.edu/caps_thes_all/41 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Christian Ekeke 12/19/16 Capstone 2 Dr. Lanier Sammons Automation: From Consoles to DAWs Since the beginning of modern music there has always been a need to implement movement into a mix. Whether it is bringing down dynamics for a classic fade out or a filter sweep slowly building into a chorus, dynamic activity in a song has always been pleasing to the average music listeners. The process that makes these mixing techniques possible is automation. Before I get into details about automation in regards to mixing I will explain common ways automation is used. Automation in a nutshell is the use of various techniques, method, and system of operating or controlling a process by highly automatic means generally through electronic devices. In music however, automation is simply the use of a combination of multiple control devices to alter parameters in real time while a mix is being played.
    [Show full text]
  • A Reference for the Scene Page 1
    WareZ101.org - A Reference For The Scene Page 1 Home *Articles* Downloads Discussion Forum Search Links Contact Us December 17 2006 07:38:33 What are these files I downloaded? How do I "open" them? Login This article will discuss the following popular download formats: Username *Official Scene Releases (RAR splits) Password *Single ZIP Files *Single RAR Files *Single TAR Files Login *ISO Files *BIN/.CUE Files Not a member *IMG Files (CD's, 700 MB and under) yet? *IMG Files (DVD's, 4.4 GB and under) Click here to *MDF/.MDS Files register. *CCD/.IMG/.SUB Files *MP3/.M3U Files Forgotten your *WMA Files password? *OGG Files Request a new *AVI Files one here. *MPG/.MPEG Files *VCD Files & Folders Users Online *SVCD Files & Folders *VOB/.IFO/.BUP Files Guests Online: 1 --- No Members Online Official Scene Release Format Registered Example: Members: 94 Newest Member: NoX Latest Articles Coded Anti- Piracy The Bittorrent Bible... Secrets of the Pirat... How to use Daemon Tools How to Convert DVDs ... Member Poll What's your primary source of warez? FTP Servers (Public) FTP Servers (Private) http://warez101.org/readarticle.php?article_id=36 17/12/2006 06:39:09 PM WareZ101.org - A Reference For The Scene Page 2 HTTP Servers Torrent Sites E-Mule Sites P2P Application(s) IRC Servers Other You must login to vote. Shoutbox You must login to post a message. 5cr3w3d DATE: 02/09/2006 17:52 Testing 1-2-3 I have somehow NOTE: This particular release contains 3CD's, as you can see above. Your particular release may not have found my way these folders, all the RAR's, .NFO and .SFV files may be in a single folder with no subfolders.
    [Show full text]
  • 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
    [Show full text]