Mixpre-3 User Guide • February 7, 2019 This Document Is Distributed by Sound Devices, LLC in Online Electronic (PDF) Format Only
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Flip4mac 3.3 Release Notes
Flip4Mac 3.3 Release Notes Telestream® Flip4Mac Windows Media Components for QuickTime® allow you to easily play, import and export Windows Media files within most of your favorite QuickTime applications including Microsoft PowerPoint and Apple Keynote. Flip4Mac also includes Flip Player, a multi-format video player that provides high quality video playback and optional premium editing features. Flip4Mac Products Flip4Mac WMV Player ($9.99) enables you to play Windows Media files in QuickTime applications and view Windows Media content on the Internet using Safari, Firefox and Google Chrome web browsers. With Flip4Mac Player Pro ($29), you will be able to import Windows Media files for conversion to other popular formats such as: • MOV (Final Cut Pro, iMovie) • MP4 (iTunes, iPod, iPhone, iPad, Apple TV) • MPEG-2 (Video DVD) • MP3 and AAC (iTunes, iPod, iPhone, iPad) In addition to enabling additional features in Flip Player such as: • Visual Cropping • Advanced playback controls • Visual Scaling • iPhone Ringtone export • Rotating • ProRes 422 export for Final Cut Pro • Trimming Flip4Mac Studio ($49) and Flip4Mac Studio Pro HD ($179) enable you to create Windows Media files for distribution. These features are available in trial mode until you're ready to purchase an upgrade. You can purchase an upgrade directly from within the software by selecting Flip4Mac in System Preferences. Windows Media Digital Rights Management (DRM) While the Flip4Mac plug-in provides superior playback performance, it is unable to play content that has been protected using Windows Media Digital Rights Management (DRM). System Requirements • Intel-based Mac • Mac OS X 10.6.8 and later Flip4Mac 3.3 Fixes and Enhancements • Added support for Mac OS X 10.10+ • Added support for Mac OS X 10.6.8 • Added diagnostic analytics • Fixed various issues with licensing • Fixed issues with the Web plug-in and Safari. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Neve 88RS User Manua
Contents CONTENTS INTRODUCTION System Information 1:1 POWER UP AND POWER DOWN SEQUENCE Power Up Procedure: 2:1 Power Down Procedure 2:3 CONSOLE CONFIGURATION Multitrack Recording 2:6 Mixdown 2:8 Overdubbing 2:10 Tape and Cues Post EQ 2:18 Broadcast 2:20 THE 88RS CONSOLE SURFACE The 88RS Channel Module 3:3 Channel Fader Module 3:11 SOLO & MASTER CUT SYSTEM 4:1 Solo System 4:1 Cut Grouping Facility 4:4 MONITOR & FACILITIES SECTION Oscillator and Signal level 5:1 Auxiliary Master Section 5:2 Cue Mix System 5:4 Rev Returns 5:6 Monitor Panel 5:7 5:14 2 Track Mixer 5:21 5:22 5:23 Monitor and Facilities Fader Section 5:23 Issue 3 i 88RS User Manual Contents METERING Multitrack Meters 6:1 Auxiliary Meters 6:3 Multitrack Meter Controls 6:4 Monitor 6T Output Meters 6:5 6:6 Monitor 8T Output Meters (optional) 6:6 Encore Screen 6:8 6:8 6:8 SURROUND: ROUTING & MONITORING Reassign Matrix Panel 7:1 Reassign Matrix Modes 7:5 Automated Panning 7:8 Optional Joystick Module 7:9 AUTOMATION & MACHINE CONTROL Global Master Automation 8:1 Events Master 8:2 Automation Panel 8:3 GLOSSARY Terms Used In This Manual 9:1 Issue 3 ii 88RS User Manual INTRODUCTION System Information INTRODUCTION System Information The 88RS is an ‘in-line’ monitor type console. Each channel strip contains all the facilities necessary for multitrack recording, overdubbing and mixdown. The console has the powerful feature of split operation - i.e. the console can be operationally divided into two halves (to the left and right of the master control panel) with independent status control and split mix busses. -
APPLICATION BULLETIN AAC-ELD Based Audio Communication on Ios a Developer’S Guide V2.3 - 08.08.2012
F R A U N H O F E R I N S T I T U T E F O R I N T E G R A T E D C I R C U I T S I I S APPLICATION BULLETIN AAC-ELD based Audio Communication on iOS A Developer’s Guide V2.3 - 08.08.2012 ABSTRACT This document is a developer’s guide for accessing the AAC-ELD codec included in iOS from third party audio communication applications. It shows how developers can create their own innovative applications and services using the same high quality codec as in FaceTime. Source code examples are used to illustrate the required processing steps and Application Programming Interface calls. The complete source code is available together with this paper and comprises a working demo application, which reads audio frames from the microphone and plays them back at low delay after encoding and subsequent decoding. The discussed iOS APIs include full-duplex audio Input/Output using the Remote I/O AudioUnit and AAC-ELD encoding/decoding using the AudioConverter API. The initialization of components and underlying concepts, such as the usage of callback functions and object properties are discussed. The scope of the example application is limited for simplicity and does not cover transmission over IP or other advanced features such as error concealment or jitter buffer management. The integration of all these components into a complete Voice over Internet Protocol application is a challenging task but can be simplified through the Fraunhofer Audio Communication Engine, which is described briefly at the end of the document. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Digidesign Coreaudio Driver Usage Guide
Digidesign CoreAudio Driver Usage Guide Version 7.0 for Pro Tools|HD® and Pro Tools LE™ Systems on Mac OS X 10.4 (“Tiger”) Only Introduction This document covers two versions of the CoreAudio Driver, as follows: Digidesign CoreAudio Driver The Digidesign CoreAudio Driver works with Pro Tools|HD, Digi 002®, Digi 002 Rack™, and original Mbox™ systems only. See “Digidesign CoreAudio Driver” on page 1. Mbox 2™ CoreAudio Driver The Mbox 2 CoreAudio Driver works with Mbox 2 systems only. See “Mbox 2 CoreAudio Driver” on page 8. Digidesign CoreAudio Driver The Digidesign CoreAudio Driver is a multi-client, multichannel sound driver that allows CoreAudio-compatible applica- tions to record and play back through the following Digidesign hardware: • Pro Tools|HD audio interfaces • Digi 002 • Digi 002 Rack • Mbox Full-duplex recording and playback of 24-bit audio is supported at sample rates up to 96 kHz, depending on your Digidesign hardware and CoreAudio client application. The Digidesign CoreAudio Driver will provide up to 18 channels of input and output, depending on your Pro Tools system: • Up to 8 channels of I/O with Pro Tools|HD systems • Up to 18 channels of I/O with Digi 002 and Digi 002 Rack systems • Up to 2 channels of I/O with Mbox systems For Pro Tools|HD systems with more than one card and multiple I/Os, only the primary I/O connected to the first (core) card can be used with CoreAudio. Check the Digidesign Web site (www.digidesign.com) for the latest third-party drivers for Pro Tools hardware, as well as current known issues. -
Us-122Mkii/144Mkii/200 /600/1800/2000/1641
US-122MKII/144MKII/200 /600/1800/2000/1641 About this Driver(OS X Mavericks Beta) The following drivers for OS X Mavericks (10.9) are being released. Versions OS Driver Firmware Updater US-122MKII/144MKII OS X Mavericks (10.9) 3.00d8 2.03 [Not updated] US-200 ↑ ↑ 1.01 [Not updated] US-600 ↑ ↑ 1.00 [No updater] US-1800 ↑ ↑ 1.00 [No updater] US-2000 ↑ ↑ 1.01 [Not updated] US-1641 ↑ ↑ 1.02 [Not updated] Please use these drivers with the specified firmware version only. Confirmation of Driver Version and Firmware Version The driver and firmware versions you are currently using should be checked to determine if updates are required. If the driver is being installed for the first time, please check the firmware version after installing the driver. After your interface has been properly connected to your computer, open the unit’s Control Panel to observe the current “Driver Version” and “Firmware Version”. [US-144MKII Control Panel] Caution for driver installation Prior to installing a new driver, please make sure to delete any previous driver files first. Note that once the old driver is uninstalled, it cannot be reinstalled to OS X Mavericks (10.9). If you wish to retain the old driver installation, be sure to use Time Machine or another backup mechanism that allows you to revert to a point prior to this uninstallation. TASCAM US-122MKII/144MKII,200,600,1800,2000,1641 D01223620B 1 OS X Mavericks Driver : 3.00d8(beta) US-122MKII/144MKII/200 /600/1800/2000/1641 Notes Digital Input (US-144MKII, US-600, US-1800, US-2000, US-1641) This driver is a beta (preliminary) release to support operation of TASCAM audio interfaces with OS X Mavericks (10.9). -
Pro Tools | Quartet Your Personal Professional Music Studio
Pro Tools | Quartet Your personal professional music studio For musicians, engineers, producers, sound designers, and audio post professionals who demand a complete audio/MIDI creative solution, Pro Tools® | Quartet enables you to turn your Mac or PC into a high-performance yet portable music and audio production studio. Featuring industry-standard Pro Tools software and the best-in-class Quartet by Apogee 12x8 audio interface, Pro Tools | Quartet provides everything you need to create professional- level productions that will help you stand out from the crowd—from first note to final mix. And now it’s more affordable and an even better value than ever—bundle the interface with a full Pro Tools license and get a free year of upgrades included at no additional charge, or choose a lower cost 1-year Pro Tools subscription and get all upgrades included throughout your subscription. Plus, both options come with your choice of two additional premium Avid plug-ins at no extra charge. Top Rear Create with industry-standard Pro Tools Sound Amazing® with Quartet • Work with the award-winning toolset trusted by audio pros worldwide • Record performances in 24-bit/192 kHz resolution • Write, play, practice, record, edit, mix, and master music faster • Connect mics, instruments, and more to high-quality I/O: • Get seamless integration with Quartet by Apogee for optimized control o Four combination mic/instrument/line inputs • Create large, richly detailed sessions easily with 64-bit performance o Eight channels of ADAT/SMUX input via Toslink • Track -
Direct-To-Master Recording
Direct-To-Master Recording J. I. Agnew S. Steldinger Magnetic Fidelity http://www.magneticfidelity.com info@magneticfidelity.com July 31, 2016 Abstract Direct-to-Master Recording is a method of recording sound, where the music is performed entirely live and captured directly onto the master medium. This is usually done entirely in the analog domain using either magnetic tape or a phonograph disk as the recording medium. The result is an intense and realistic sonic image of the performance with an outstandig dynamic range. 1 The evolution of sound tracks can now also be edited note by note to recording technology compile a solid performance that can be altered or \improved" at will. Sound recording technology has greatly evolved This technological progress has made it pos- since the 1940's, when Direct-To-Master record- sible for far less competent musicians to make ing was not actually something special, but more a more or less competent sounding album and like one of the few options for recording music. for washed out rock stars who, if all put in the This evolution has enabled us to do things that same room at the same time, would probably would be unthinkable in those early days, such as murder each other, to make an album together. multitrack recording, which allows different in- Or, at least almost together. This ability, how- struments to be recorded at different times, and ever, comes at a certain cost. The recording pro- mixed later to create what sounds like a perfor- cess has been broken up into several stages, per- mance by many instruments at the same time. -
User Guide ______Audio Interface | Discrete 4 Synergy Core
MARCS Music & Audio Recording Studio ___________________ User Guide _________________ Audio Interface | Discrete 4 Synergy Core 1. Log into the iMac computer using your Emory credentials. 2. The Antelope Launcher should start automatically (give it a few seconds). Otherwise, launch it from the Dock. 3. Once the Antelope Launcher opens, it should automatically launch the Discrete 4 Synergy Core audio interface (AI) control panel (it may take a few seconds). If it does not, click the Discrete 4 Synergy Core image in the top left area of the window: Note1: Do not click on the image multiple times, as each click will open a separate control panel window. Note 2: If you don’t see the Discrete 4 image, check the back panel of the AI under the iMac and make sure it is powered up (its power cable is connected) and it is connected to the iMac with the USB cable. The Discrete4 Synergy Core control panel allows adjusting microphone preamps, headphone and monitor volume controls, as well as mixing, FX, and more. 4. Microphone/Instrument Inputs. The PREAMPS section controls mics/instruments preamps. The four gain buttons correspond to inputs 1 and 2 on the front of the AI console and inputs 3 and 4 on the back. Make sure that the microphone/instrument icon in the relevant input section is set correctly. Thus, use the microphone icon when using a microphone, the guitar icon when connecting an electric guitar, and the line-in icon when connecting synthesizers keyboards, samplers, players, amplifiers, etc.: The two microphones (Shure SM7B) mounted on two arms by default are connected to input 3 and input 4 on the back of the console. -
Soundbooth CS3 User Guide
ADOBE®SOUNDBOOTH™ CS3 USER GUIDE ©Copyright 2007 Adobe Systems Incorporated. All rights reserved. Adobe® Soundbooth™ CS3 User Guide for Windows® and Mac OS. If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or trans- mitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated.Pleasenotethatthe content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. Thecontentofthisguideisfurnishedforinformationaluseonly,issubjecttochangewithoutnotice,andshouldnotbeconstruedasacommitmentbyAdobe Systems Incorpo- rated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Adobe Premiere, After Effects, Creative Suite, Encore, Flash, Photoshop, Soundbooth, and Version Cue are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. -
Pocket Guide 2020
POCKET GUIDE Full Product Range 2020 2020, Issue 1 Tascam is a trademark of TEAC Corporation, registered in the U.S. and other countries. Microsoft, Windows and Windows Vista are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Mac, macOS, iPad, Lightning, App Store and iTunes are trademarks of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. ASIO is a trademark of Steinberg Media Technologies GmbH. All other trademarks are property of their respective owners. 2 CONTENT DR-44WL ............................................. 4 DA-6400 .............................................45 DR-22WL .............................................. 5 DA-3000 .............................................46 DR-40X ................................................ 6 HS-20 .................................................47 DR-07X ................................................ 7 RC-HS20PD ..........................................48 DR-05X ................................................ 8 HS-P82 ...............................................49 DR-100 MKIII ......................................... 9 RC-F82 ...............................................50 DR-680 MKII ........................................10 SD-20M ..............................................51 DR-10X ...............................................11 SS-CDR250N, SS-R250N .........................52 DR-10C ...............................................12