DOCSLIB.ORG

MIDI in Samplitude 220 MIDI Options 220 Import, Record, Edit 220 MIDI Object Editorctrl + O 221

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2 COPYRIGHT Copyright This documentation is protected by copyright law. All rights, especially rights to reproduction, distribution, and to the translation, are reserved. No part of this publication may be reproduced in form of copies, microfilms or other processes, or transmitted into a language used for machines, especially data processing machines, without the express written consent of the publisher. MAGIX® and Samplitude® are registered trademarks of MAGIX AG. ASIO & VST are registered trademarks of Steinberg Media Technologies GmbH. All other mentioned product names are trademarks of their respective owners. Errors and changes to the contents as well as program modifications reserved. This product uses MAGIX patented technology (USP 6518492) and MAGIX patent pending technology. Copyright © MAGIX AG, 1990-2009. All rights reserved. WELCOME 3 Welcome Thank you for choosing Samplitude! You now have in your possession one of the most successful all-around solutions for professional audio editing. As a PC-based Digital Audio Workstation (DAW), this software supplies comprehensive application options for recording, editing, mixing, media authoring, and mastering. The current version was developed in close collaboration with musicians, sound engineers, producers, and users. It has lots of innovative functions and incorporates the comprehensive and advanced development of tried and tested performance features – unique functionality & sound neutrality, outstanding cutting & editing options, perfect CD/DVD mastering, and the flexible customization of individual workflows. There are various tools available to you for every work step – all completely in 32-bit and available at up to 384 KHz. Outstanding sound based on highly-developed digital algorithms, absolute phase stability, and the universal use of floating-point calculations belong to the professional standard boasted by Samplitude. Supplementary to this print manual, we also recommend the program's help file to find out about the individual functions in more detail. You can also visit our support area and the user forum online at http://www.samplitude.com to learn more. The Samplitude team 4 CONTENTS Contents Copyright 2 Welcome 3 System Requirements 19 General system requirements 19 Hard disk 19 Contact 20 Product activation: 20 Support 20 Sales 20 Installation 21 Automatic registration directly from within the program 21 Activating Samplitude 11 22 Code Meter licence update for version 11 23 Introduction to Samplitude network installation 25 Tips for using the CodeMeter stick: 25 System settings 27 Audio setup 27 Monitoring settings 28 Audio devices 32 MIDI settings 32 Project options - general 34 What’s new in version 11? 37 EQ116 37 sMax11 37 Vandal guitars and bass amps 38 Studio essentials 38 Audio pre and post-recording 40 Revolver tracks 41 Synth objects 41 MAGIX Synth 41 MIDI / VSTi features 42 Grid bar/snap button 43 Docking 43 Video 43 New skin interface 44 New default coloring method for the color tool 44 CONTENTS 5 Color mode 45 AAF / OMF import and export 46 Manager 47 New commands 47 What's new since 10.2 47 FLAC format 47 Dithering 47 Spectral Cleaning 48 Take composer 48 FFT Filter 48 MIDI editor 48 Folder tracks 48 New commands 48 What's new since 10.1 49 Synchronization (Sequoia and Samplitude pro only) 49 Hardware controller features 49 System options -> Playback 50 Advanced sidechain functionality 51 Improved automation functionality 51 Optimized multi-CPU strategy 52 Mixer 52 MIDI / VSTi features 52 Audio quantization 53 Grouping 53 Manager 54 File handling/Import/Export 54 New commands 54 Screen elements 55 What is a VIP? 55 Program interface – Overview 55 Toolbars – Overview 68 Samplitude quickstart 77 Initial navigation in the virtual project (VIP) 77 Tutorial: Recording 78 Multi-track recording 82 MIDI recording 83 Objects in the virtual project (VIP) 85 Mixer 86 Effects 87 CD mastering 89 General functions in the project window 92 6 CONTENTS Section 92 Zooming 93 Scrolling 94 Ranges 95 Working with ranges 95 Markers 98 Scrubbing 100 Samplitude as Wave Editor 102 Hints & Tips 103 Object-oriented audio editing 106 What is an object? 106 Object editor 107 Basic functions 108 Object effects 109 Position/Fades 111 Pitchshifting/Timestretching 113 Techniques for Working with Objects 115 Integrating wave files as objects in the VIP 115 Integrating sections from wave projects as objects 115 The difference between loading and importing audio files. 115 Integrating CD tracks as objects into VIP 116 Selecting and Unselecting an Object 116 Object handles 116 Selecting and unselecting several objects, inverting the selection 117 Moving objects 117 Changing the length and start time of an object 118 Duplicating, copying, and inserting objects 118 Change waveform view 118 Editing fades in the Object Editor or by using the handles. 119 Object effects 119 Locking objects 119 Destructively editing an object 119 Moving to a defined position 120 Group/Ungroup objects 120 Linking objects 121 Overlapping objects 121 Gluing objects 123 Looping objects 123 Trimming objects 124 Replacing an audio file below the object 124 Moving audio material below the object 124 Managers 125 CONTENTS 7 File manager 125 Object Manager 129 Track Manager 131 Marker manager 132 Range Manager 134 Take manager 135 Take composer 137 Comping 139 VSTi manager 140 Routing Manager 141 Mixer 142 Mixer Overview 142 Operating the Mixer 142 Channel strips 145 Master section 149 Global buttons 151 Busses and Routing 155 Effect routing/Plug-ins dialog 157 Effects – Organization and work flow 161 Saving Effect Parameters (Preset Mechanism) 162 Drag & Drop of DirectX and VST plug-ins 162 Effect Routing 163 External hardware effects integration 163 Setting latencies for external effects 166 Integrating external synthesizers 166 Effects and plug-ins in an overview 167 Realtime effects at track, object, and master level 167 DirectX / VST FX 167 VST instruments 167 MAGIX plug-ins 168 Synth object 168 MAGIX Synth 184 Plug-ins at track, object and master level 195 Remix Agent 199 Stereo Editor 200 Stereo dialog options 200 Mid / Side Processing 201 Surround Sound 203 Creating a New VIP with the Mixer in Surround Format 203 Converting an existing stereo VIP into a VIP with mixer in surround format 204 8 CONTENTS Project Surround Setup 204 Surround Panning 206 Surround Panorama Module 207 Panorama Modes of the Surround Panorama Module 209 2-channel surround mode 212 Stereo and mono signal processing in surround projects 214 Working reciprocally in Stereo and Surround Format 215 Automation of the Surround Panorama Module 216 Effects in Surround Projects 216 Editing Surround Sound Automation 218 Surround track bouncing 218 MIDI in Samplitude 220 MIDI Options 220 Import, Record, Edit 220 MIDI object editorCtrl + O 221 MIDI Editors 224 Open MIDI Editor 224 Working with the MIDI Editor 224 MIDI functions 226 Quantize to grid 229 Step recording via keyboard or controller keyboard 235 Cell edit mode 236 Velocity mode 236 Piano Roll (Matrix Editor) 236 Drum Editor 240 Controller Editor 244 List Editor (event list) 248 Multi-object editing (MO editing) 249 Score Editor 251 MIDI editor shortcut keys 266 Software-Instrumente/VST-Plug-ins/ReWire 269 Installation of VST plug-ins 269 Load software instruments 270 Apply plug-ins at wave level 271 Load plug-ins at object level 271 Load plug-ins at track level 271 Load plug-ins at master level 271 Routing settings during software instrument loading 271 VST MIDI out + Audio out recording 274 Routing of VST instruments using the VSTi manager. 275 Adjust instrument parameters 276 Plug-in panel - graphic interface 276 Plug-in parameter dialog 276 CONTENTS 9 Plug-in menu functions 277 Play and monitor instruments live 278 VST instrument preset selection 280 Sidechain input 280 Freeze plug-ins 280 ReWire client application 282 Automation 283 Track automation - Basic approach 283 Automation modes 284 Object automation 287 Master automation 287 Automation – Context menu 288 Curve generator 291 MIDI controller automation 293 VST plug-in/VST parameter dialog 294 Automation recording in read mode 294 Automation draw mode 295 Edit automation curves 295 Move automation curve with audio/MIDI data 296 Automation/MIDI controller settings 296 Synchronization 298 Synchronization in general 298 Media link / video setup 308 Hardware controller 310 Hardware controller - Introduction 310 Hardware Controller settings 310 Hardware controller presets 312 Customizing controllers 339 Hardware controller options 341 Hardware controller - Fader scaling 344 Hardware controller – "Internal" mode 344 Learn controller for plug-in/mixer elements 347 Preset keyboard shortcuts 348 "File" Menu 348 “Edit” Menu 348 “View” Menu 349 “Track” Menu 350 “Object” Menu 351 Realtime Effects 353 Offline Effects 353 “Range” Menu 354 “CD/DVD” Menu 355 10 CONTENTS “Tools” menu 355 “Play/Record” Menu 355 “MIDI” Menu 356 “Options” menu 356 “Window” Menu 357 “Help” Menu 357 Mouse 357 Signal flow 358 Recording 358 Playback 358 Signal flow with monitoring 358 Glossary 361 Active section 361 Audio markers 361 Automation 361 AUX bus 361 Clip 362 Context menu 362 Crossfade 362 Destructive editing 362 Fade 363 Grid/Marker bar 363 Handle 363 Hybrid Engine and Economy Tracks 364 Latency 364 Latency comparison 364 Level fader 365 Lock key 365 Marker 365 Mouse modes 365 Menu 366 MIDI object 366 Monitoring 366 Objects 366 Object Editor 366 Object Mode 367 Object-Orientated 367 Play Cursor 367 Range 367 Routing 367 Scroll bar 368 Scrub 368
Recommended publications
  • Sociedade Do Conhecimento E Meio Ambiente

    Sociedade Do Conhecimento E Meio Ambiente

    ISBN 978-85-63651-12-9 9 7 8 8 5 6 3 6 5 1 1 2 9 > SOCIEDADE DO CONHECIMENTO E MEIO AMBIENTE SINERGIA CIENTÍFICA GERANDO DESENVOLVIMENTO SUSTENTÁVEL UNIVERSIDADE FEDERAL DO AMAZONAS REITORA Prof.ª Dr.ª Márcia Perales Mendes Silva Vice-Reitor Prof. Dr. Hedinaldo Narciso Lima INSTITUTO NACIONAL DE PESQUISAS DA AMAZÔNIA – INPA DIRETOR Dr. Adalberto Luis Val VICE-DIRETOR Dr. Wanderli Pedro Tadei FUNDAÇÃO CENTRO DE ANÁLISE, PESQUISA E INOVAÇÃO TECNOLÓGICA – FUCAPI DIRETORA-PRESIDEN TE Dra. Isa Assef PROGRAMAS DE PÓS-GRADUAÇÃO DE ENGENHARIA – COPPE DIRETOR Prof. Dr. Luiz Pinguelli Rosa VICE-DIRETOR Prof. Dr. Aquilino Senra FINANCIADORA DE ESTUDOS E PROJETOS – FINEP PRESIDENTE Prof. Dr. Glauco Antonio Truzzi Arbix COORDENAÇÃO GERAL – PIATAM-UFAM Prof. Dr. Alexandre Almir Ferreira Rivas Prof. Dr. Carlos Edwar de Carvalho Freitas COORDENAÇÃO INSTITUCIONAL – INPA Prof. Dra. Vera Maria Fonseca de Almeida e Val COORDENAÇÃO INSTITUCIONAL – FUCAPI Dr. Carlos Renato Santoro Frota COORDENAÇÃO INSTITUCIONAL – COPPE Prof. Dr. Luiz Landau ÁREA DE COMUNICAÇÃO, DESIGN E MULTIMÍDIA – PIATAM-UFAM Prof. Dr. Jackson Colares da Silva Os Coordenadores do Piatam agradecem à Universidade Federal do Amazonas – Ufam; ao Instituto Nacional de Pesquisas da Amazônia – INPA; ao Instituto Alberto Luiz Coimbra de Pós-Graduação e Pesquisa de Engenharia – COPPE; à Financiadora de Estudos e Projetos – FINEP e à universidade norte-americana Washington and Lee, instituições parceiras que consolidam a qualidade científica e o caráter interdisciplinar do Projeto e cujas contribuições foram essenciais à produção desta obra. Por sempre acreditarem no grande valor do Piatam como instrumento de produção do conhecimento e de desenvolvimento de tecnologias para o monitoramento e gestão ambiental, o nosso muito obrigado.
  • Energyxt 2 5 Manual

    Energyxt 2 5 Manual

    Energyxt 2 5 Manual This program received 5 awards · XT Software AS. 2.5 Video tutorial and screenshots. Project Window Energyxt 2.6 free · Energyxt2.5 download full version energyXT2.5 (energyXT2.exe). energyXT is a program that enables you to create an unlimited number of MIDI, drums and audio Video tutorial & screenshots. energyXT2 is a fast-loading, cross-platform, modular VST host, which includes a full-featured This wiki will serve as an online manual, and a place to collect all useful information related to energyXT2. 5 x external VSTi, 4 x external FX In two years time when Phrases comes back to have outgunned both Cthulhu, software to make basic functionality in a daw 2013 available (energyXT, mini-vst-hosts, unameit). No, maybe I'll see you in version 4 or 5 lol These tools are unneccessary because we already have x, y and z (manual timewasting methods) energyXT2.5 gives you everything you need to create music on your PC or laptop, whether you're running Windows, Mac OS X, or Linux. Note: An online version of this user manual is available here. 2. Blue Cat's Page 5 These two sliders let you control the x and y zoom for the graphs in both views. EnergyXT. VST. Magix Samplitude. VST. Avid (Digidesign) Pro Tools. Energyxt 2 5 Manual Read/Download 5, Bad 4 energyXT is one of the most flexible VST sequencers available. energyXT was named the top three members of the Inquiry ecirc CCSP, too (generally tools/Other Office Tools (1), Office tools/PDF (2), Office tools/Text editors (1).
  • Interaction Techniques for Finger Sensing Input Devices

    Interaction Techniques for Finger Sensing Input Devices

    PreSense: Interaction Techniques for Finger Sensing Input Devices ££ £ £ Jun Rekimoto £ Takaaki Ishizawa Carsten Schwesig Haruo Oba £ Interaction Laboratory ££ Graduate School of Media and Governance Sony Computer Science Laboratories, Inc. Keio University 3-14-13 Higashigotanda Shonan Fujisawa Campus Shinagawa-ku, Tokyo 141-0022 Japan 5322 Endo, Fujisawa 252-8520 Japan Phone: +81 3 5448 4380, Fax +81 3 5448 4273 [email protected] rekimoto,oba @csl.sony.co.jp http://www.csl.sony.co.jp/person/rekimoto.html ABSTRACT Although graphical user interfaces started as imitations of the physical world, many interaction techniques have since been invented that are not available in the real world. This paper focuses on one of these “previewing”, and how a sen- sory enhanced input device called “PreSense Keypad” can provide a preview for users before they actually execute the commands. Preview important in the real world because it is often not possible to undo an action. This previewable fea- Figure 1: PreSense Keypad senses finger contact ture helps users to see what will occur next. It is also helpful (proximity) and position before the key press. when the command assignment of the keypad dynamically changes, such as for universal commanders. We present sev- eral interaction techniques based on this input device, includ- touch sensor, finger motions on the keypad are recognized ing menu and map browsing systems and a text input system. by integrating each keytop’s information. We also discuss finger gesture recognition for the PreSense This sensor and keytop combination makes it possible to rec- Keypad. ognize “which button is about to be pressed”, and the system KEYWORDS: input devices, previewable user interfaces, can provide appropriate information to users.
  • Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards

    Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards

    Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards Gulnar Rakhmetulla* Ahmed Sabbir Arif† Steven J. Castellucci‡ Human-Computer Interaction Group Human-Computer Interaction Group Independent Researcher University of California, Merced University of California, Merced Toronto I. Scott MacKenzie§ Caitlyn E. Seim¶ Electrical Engineering and Computer Science Mechanical Engineering York University Stanford University Table 1: Conventional error rate (ER) and action-level unit error rate ABSTRACT (UnitER) for a constructive method (Morse code). This table illustrates Computer users commonly use multi-step text entry methods on the phenomenon of using Morse code to enter “quickly” with one handheld devices and as alternative input methods for accessibility. character error (“l”) in each attempt. ER is 14.28% for each attempt. These methods are also commonly used to enter text in languages One of our proposed action-level metrics, UnitER, gives a deeper with large alphabets or complex writing systems. These methods insight by accounting for the entered input sequence. It yields an error require performing multiple actions simultaneously (chorded) or rate of 7.14% for the first attempt (with two erroneous dashes), and in a specific sequence (constructive) to produce input. However, an improved error rate of 3.57% for the second attempt (with only evaluating these methods is difficult since traditional performance one erroneous dash). The action-level metric shows that learning has metrics were designed explicitly for non-ambiguous, uni-step meth- occurred with a minor improvement in error rate, but this phenomenon ods (e.g., QWERTY). They fail to capture the actual performance of is omitted in the ER metric, which is the same for both attempts.
  • Senorita: a Chorded Keyboard for Sighted, Low Vision, and Blind

    Senorita: a Chorded Keyboard for Sighted, Low Vision, and Blind

    Senorita: A Chorded Keyboard for Sighted, Low Vision, and Blind Mobile Users Gulnar Rakhmetulla Ahmed Sabbir Arif Human-Computer Interaction Group Human-Computer Interaction Group University of California, Merced University of California, Merced Merced, CA, United States Merced, CA, United States [email protected] [email protected] Figure 1. With Senorita, the left four keys are tapped with the left thumb and the right four keys are tapped with the right thumb. Tapping a key enters the letter in the top label. Tapping two keys simultaneously (chording) enters the common letter between the keys in the bottom label. The chord keys are arranged on opposite sides. Novices can tap a key to see the chords available for that key. This figure illustrates a novice user typing the word “we”. She scans the keyboard from the left and finds ‘w’ on the ‘I’ key. She taps on it with her left thumb to see all chords for that key on the other side, from the edge: ‘C’, ‘F’, ‘W’, and ‘X’ (the same letters in the bottom label of the ‘I’ key). She taps on ‘W’ with her right thumb to form a chord to enter the letter. The next letter ‘e’ is one of the most frequent letters in English, thus has a dedicated key. She taps on it with her left thumb to complete the word. ABSTRACT INTRODUCTION Senorita is a novel two-thumb virtual chorded keyboard for Virtual Qwerty augmented with linguistic and behavioral mod- mobile devices. It arranges the letters on eight keys in a single els has become the dominant input method for mobile devices.
  • Gesture Typing on Smartwatches Using a Segmented QWERTY Around the Bezel

    Gesture Typing on Smartwatches Using a Segmented QWERTY Around the Bezel

    SwipeRing: Gesture Typing on Smartwatches Using a Segmented QWERTY Around the Bezel Gulnar Rakhmetulla* Ahmed Sabbir Arif† Human-Computer Interaction Group Human-Computer Interaction Group University of California, Merced University of California, Merced Figure 1: SwipeRing arranges the standard QWERTY layout around the edge of a smartwatch in seven zones. To enter a word, the user connects the zones containing the target letters by drawing gestures on the screen, like gesture typing on a virtual QWERTY. A statistical decoder interprets the input and enters the most probable word. A suggestion bar appears to display other possible words. The user could stroke right or left on the suggestion bar to see additional suggestions. Tapping on a suggestion replaces the last entered word. One-letter and out-of-vocabulary words are entered by repeated strokes from/to the zones containing the target letters, in which case the keyboard first enters the two one-letter words in the English language (see the second last image from the left), then the other letters in the sequence in which they appear in the zones (like multi-tap). Users could also repeatedly tap (instead of stroke) on the zones to enter the letters. The keyboard highlights the zones when the finger enters them and traces all finger movements. This figure illustrates the process of entering the phrase “the world is a stage” on the SwipeRing keyboard (upper sequence) and on a smartphone keyboard (bottom sequence). We can clearly see the resemblance of the gestures. ABSTRACT player or rejecting a phone call), checking notifications on incoming Most text entry techniques for smartwatches require repeated taps to text messages and social media posts, and using them as fitness enter one word, occupy most of the screen, or use layouts that are trackers to record daily physical activity.
  • Clavier DUCK

    Clavier DUCK

    Clavier DUCK : Utilisation d'un syst`emede d´eduction de mots pour faciliter la saisie de texte sur ´ecrantactile pour les non-voyants Philippe Roussille, Mathieu Raynal, Christophe Jouffrais To cite this version: Philippe Roussille, Mathieu Raynal, Christophe Jouffrais. Clavier DUCK : Utilisation d'un syst`emede d´eduction de mots pour faciliter la saisie de texte sur ´ecrantactile pour les non- voyants. 27`eme conf´erencefrancophone sur l'Interaction Homme-Machine., Oct 2015, Toulouse, France. ACM, IHM-2015, pp.a19, 2015, <10.1145/2820619.2820638>. <hal-01218748> HAL Id: hal-01218748 https://hal.archives-ouvertes.fr/hal-01218748 Submitted on 21 Oct 2015 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Clavier DUCK : Utilisation d’un système de déduction de mots pour faciliter la saisie de texte sur écran tactile pour les non-voyants. Philippe Roussille Mathieu Raynal Christophe Jouffrais Université de Toulouse & Université de Toulouse & CNRS & Université de CNRS ; IRIT ; CNRS ; IRIT ; Toulouse ; IRIT ; F31 062 Toulouse, France F31 062 Toulouse, France F31 062 Toulouse, France [email protected] [email protected] [email protected] RÉSUMÉ fournissant des claviers logiciels qui s’affichent sur ces L’utilisation des écrans tactiles et en particulier les cla- surfaces tactiles.
  • Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards

    Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards

    Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards Gulnar Rakhmetulla* Ahmed Sabbir Arif† Steven J. Castellucci‡ Human-Computer Interaction Group Human-Computer Interaction Group Independent Researcher University of California, Merced University of California, Merced Toronto I. Scott MacKenzie§ Caitlyn E. Seim¶ Electrical Engineering and Computer Science Mechanical Engineering York University Stanford University Table 1: Conventional error rate (ER) and action-level unit error rate ABSTRACT (UnitER) for a constructive method (Morse code). This table illustrates Computer users commonly use multi-step text entry methods on the phenomenon of using Morse code to enter “quickly” with one handheld devices and as alternative input methods for accessibility. character error (“l”) in each attempt. ER is 14.28% for each attempt. These methods are also commonly used to enter text in languages One of our proposed action-level metrics, UnitER, gives a deeper with large alphabets or complex writing systems. These methods insight by accounting for the entered input sequence. It yields an error require performing multiple actions simultaneously (chorded) or rate of 7.14% for the first attempt (with two erroneous dashes), and in a specific sequence (constructive) to produce input. However, an improved error rate of 3.57% for the second attempt (with only evaluating these methods is difficult since traditional performance one erroneous dash). The action-level metric shows that learning has metrics were designed explicitly for non-ambiguous, uni-step meth- occurred with a minor improvement in error rate, but this phenomenon ods (e.g., QWERTY). They fail to capture the actual performance of is omitted in the ER metric, which is the same for both attempts.
  • Audio Cleaning Lab

    Audio Cleaning Lab

    AUDIO CLEANING LAB English language manual 2 Copyright This documentation is protected by law. All rights, especially the right to duplicate, circulate, and translate, are reserved. No part of this publication may be reproduced in the form of copies, microfilms or other processes, or transmitted into a language used for machines, especially data processing machines, without the express written consent of the publisher. All copyrights reserved. All other product names are trademarks of the corresponding manufacturers. Errors in and changes to the contents as well as program modifications reserved. Copyright © MAGIX Software GmbH, 2000 - 2016. All rights reserved. MAGIX and Cleaning Lab are registered trademarks of MAGIX Software GmbH. VST is a registered trademark of Steinberg Media Technologies GmbH. MAGIX Audio Cleaning Lab uses patent-pending technology. Other mentioned product names may be registered trademarks of the respective manufacturer. MAGIX licensing conditions are included in the installation and also at www.magix.com under EULA. www.magix.com Preface 3 Preface Congratulations! You now own a high-performance digital audio lab, which is perfect for cleaning your records, tapes, CD tracks, MP3 collections, audio or video files, enhancing the sound, combining your media in any order, and burning or exporting everything in optimum quality directly onto CD or DVD. The volume and sound on each track can be perfectly synced and equalized. Various audio formats can be combined, simultaneously edited, and burned. The method is especially easy and clear, since automatic settings, assistants and step-by-step instructions make sure that the process goes smoothly and easily. Neither previous experience using the software nor long processing time are necessary.
  • Autor(Es) Ha(N)

    Autor(Es) Ha(N)

    Información Importante La Universidad de La Sabana informa que el(los) autor(es) ha(n) autorizado a usuarios internos y externos de la institución a consultar el contenido de este documento a través del Catálogo en línea de la Biblioteca y el Repositorio Institucional en la página Web de la Biblioteca, así como en las redes de información del país y del exterior con las cuales tenga convenio la Universidad de La Sabana. Se permite la consulta a los usuarios interesados en el contenido de este documento para todos los usos que tengan finalidad académica, nunca para usos comerciales, siempre y cuando mediante la correspondiente cita bibliográfica se le de crédito al documento y a su autor. De conformidad con lo establecido en el artículo 30 de la Ley 23 de 1982 y el artículo 11 de la Decisión Andina 351 de 1993, La Universidad de La Sabana informa que los derechos sobre los documentos son propiedad de los autores y tienen sobre su obra, entre otros, los derechos morales a que hacen referencia los mencionados artículos. BIBLIOTECA OCTAVIO ARIZMENDI POSADA UNIVERSIDAD DE LA SABANA Chía - Cundinamarca T e c n o - A r t e | 1 TECNO-ARTE ACTIVIDADES DE EDUCACIÓN ARTÍSTICA MEDIADAS POR LA TECNOLOGÍA LILIANA ANDREA ARDILA UNIVERSIDAD DE LA SABANA FACULTAD DE EDUCACIÓN LICENCIATURA EN PEDAGOGÍA INFANTIL Bogotá, Colombia 2014 T e c n o - A r t e | 2 TECNO-ARTE ACTIVIDADES DE EDUCACIÓN ARTÍSTICA MEDIADAS POR LA TECNOLOGÍA LILIANA ANDREA ARDILA *JOHN ALEXANDER ALBA UNIVERSIDAD DE LA SABANA FACULTAD DE EDUCACIÓN LICENCIATURA EN PEDAGOGÍA INFANTIL Bogotá, Colombia 2014 *ASESOR T e c n o - A r t e | 3 Doy gracias a Dios por darme la oportunidad de tener todo lo necesario para alcanzar mis objetivos y sobre todo por ser mi guía y mi fuerza interior.
  • Products of Interest

    Products of Interest

    Products of Interest Magic Samplitude Pro X4 feature allows multiple recordings of with various playing techniques; a particular passage to be displayed Orchestra Ensemble, which is based Magix’s Samplitude is a digital audio and combined. on a recorded symphony orchestra; workstation (DAW) for recording, Along with the usual track editing Sansula, a virtual African thumb mixing, mastering, and music pro- functions, Samplitude Pro X4 also has piano; as well as a Drum Engine, Bass duction (see Figure 1). The software object editing tools. These allow the Machine, Church Organ, and Pop application was designed to be sound user to apply nondestructive effects, Drums. neutral for recording and to provide editing, or routing at the object level. The newly added Independence optimal latency management. In The user can copy tracks within Sampler is a sampler workstation Downloaded from http://direct.mit.edu/comj/article-pdf/43/2-3/172/1962998/comj_r_00529.pdf by guest on 26 September 2021 terms of music production, it offers and between projects. A checklist with a large sound library (12 GB in options for producing scores, func- for settings to be copied is provided, theProX4and70GBintheProX4 tions for MIDI editing, and virtual and this includes VST plug-ins, AUX Suite), a live performance mode, and instruments, and it also allows the buses, submix buses, and VSTi return virtual effects. Analogue Modelling user to work on large arrangements of tracks. Suite Plus provides four analog tools, tracks with intuitive mixing, flexible A six-band equalizer has oversam- including an analog compressor routing, and automations. pling and linear phase modes, and with switchable tape saturation.
  • MMA – MUSIC PRODUCTION: DIGITAL AUDIO WORKSTATIONS – Page 1 of 6

    MMA – MUSIC PRODUCTION: DIGITAL AUDIO WORKSTATIONS – Page 1 of 6

    FH Salzburg MMA – MUSIC PRODUCTION: DIGITAL AUDIO WORKSTATIONS – Page 1 of 6 FH MMA SALZBURG – MUSIC PRODUCTION, MIX & MASTERING DIGITAL AUDIO WORKSTATIONS OVERVIEW OF CURRENT DAWS Wavelab, Cubase, Nuendo, Studio One, Logic Pro, Pro Tools, Samplitude, Sequoia, Live, Bitwig Studio, Reason, Sound Forge, Wave Burner, Garage Band, Fruity Loops, etc. 1. Multitrack Audio + MIDI Recording, Editing & Mixing 2. Post Production 3. Live Performance 4. Editing, Mastering, Sound Restoration 1. MULTITRACK AUDIO + MIDI RECORDING, EDITING AND MIXING Figure 1: Steinberg Cubase 8.5, featuring: Arranger/Project view with Audio, FX and Group tracks, as well as MIDI tracks and automation (left); Mixer/Console view with 2 VST effect panels open as well as R128 loudness meter (right) SPECIAL FEATURES: . simultaneous recording and playback of more than a hundred audio tracks . integrated and combined editing of MIDI and audio data . quantizing and groove functions for MIDI and audio . integrated digital mixer with total recall/total automation functions . advanced routing available for live inputs, audio channels and effect busses . integrated high quality plugin effects and instruments . integrated arranging and scoring tools (notation) . support for mono, stereo and surround channel, bus, group and I/O formats . extremely powerful and flexible, but very steep learning curve, very complex, not optimized for live usage (for example, every time a plugin is added or removed, there is a short audio drop-out) . some program includes Melodyne-style pitch correction