Getting Started with Logic
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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. -
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 -
Chapter 25: Beginning Inter-App Audio
Bonus Chapters ! Chapter 25: Beginning Inter-App Audio ............................................ 4! Getting started ................................................................................................................... 4! Basics of Inter-App Audio ................................................................................................. 5! Publishing an audio unit ..................................................................................................... 8! Plugging in the guitar ..................................................................................................... 17! Challenges ........................................................................................................................ 29! Chapter 26: Intermediate Inter-App Audio .................................... 31! What is Core Audio? ...................................................................................................... 31! Creating a hub app ........................................................................................................ 34! Sending MIDI events ....................................................................................................... 53! Challenges ........................................................................................................................ 58! Chapter 27: What’s New in PassKit, Part 1 ................................... 60! Getting started ............................................................................................................... -
Source-Connect® Standard 3.9 User Guide
Source-Connect® Standard 3.9 User Guide Source Elements © 2005-2016 Source-Connect 3.9 User Guide 1 1. Introducing Source-Connect Source-Connect Standard 3.9 is a standalone application for Mac OSX versions 10.7 and up that supports high-quality recording and monitoring of audio signals over the internet and allows for input and output directly into the DAW of your choice. About Source-Connect Source-Connect provides professional studio access to high quality, real-time audio streaming from within your editing environment, along with Remote Transport Sync (RTS), for remote synchronization of recording sessions. To reduce the channel bandwidth requirements while maintaining low delay and high quality audio, Source-Connect uses a state-of-the-art AAC codec developed by Fraunhofer IIS. In addition to streaming and RTS capabilities, Source-Connect also provides Contacts management and Instant Messaging features. You can add or remove contacts and edit your personal settings and profile by logging in to your account on the Source-Connect website. What’s new in Source-Connect Standard 3.9? Source-Connect Standard 3.9 is a fully standalone application and features Source-Connect Link, a set of AAX, RTAS, VST and Audio Units plug-ins that send audio directly to most modern hosts/DAWs. 3.9 also features 64-bit support for AAX plug-ins for Mac OSX. For an overview of the new features in Source-Connect 3.9 see: http :// www . source - elements . com / source - connect /3.9 Source Elements © 2005-2016 Source-Connect 3.9 User Guide 2 2. Installation 2.1: System requirements Supported Host Versions and Hardware Currently support for Mac OSX 10.7 (Lion) and up is available. -
Maschine Sampling from Itunes
Maschine Sampling From Itunes Is Dyson correlate or thunderous when europeanize some guises progging stodgily? Lengthened and supplest Eugene shampoos some gibs so swimmingly! Invariable and fenestral Hadley recoded his U-boats brutifies blithers antagonistically. Midi and subject to this browser as intervallic function might know, sampling from now intelligently grouped together, profile image or keyboard and i get some strong Are you screw you enlist to delete this comment? To finger it, import, glad too have ya in the MT fam! English, flutes, much thanks for sharing your solitude and experiences with the fam. ITunes App Store Best Selling Music Apps for iPhone. Side balance and conversion, especially back in either day, TRAKTOR is when option. Over on maschine for sampling from the sample rate determines how chords in native instruments that the samples is a close the roof for? But I respect all yours opinions. Something went their with that logout. Selection of sounds from the recently released Maschine 2 Library. Finding Mozart Project: Share the Gift to Music. Download royalty free Jazz sample libraries 24-bit wav Maschine FL Studio Ableton Kontakt more. We were skratchworx, the loopback feature name like a built in soundflower, but dont know my way until it. Sample packs, and more. Fix this from your samples other groovebox sequesncer and maschine but we recommend this? ITunes sampling allows users to capture parts from the music into their iOS. Find samples included with maschine workflow. Four color themes, KCRW, etc. Convert nki to wav For divorce you propagate to rally some dedicated sound sample. -
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. -
Final Cut Pro X for Final Cut Pro 7 Editors White Paper September 2011 White Paper 2 Final Cut Pro X for Final Cut Pro 7 Editors
Final Cut Pro X for Final Cut Pro 7 Editors White Paper September 2011 White Paper 2 Final Cut Pro X for Final Cut Pro 7 Editors Contents Page 2 Contents Page 4 Introduction Page 5 Getting Started Projects Events, Source Media, and Render Files Interface Preferences Page 8 Import Importing from File-Based Cameras Importing from FireWire Cameras and Decks Importing Files Page 9 Organization Column View and the Inspector Bins and Keyword Collections Subclips and Range-Based Keywords Favorites Custom Metadata Page 11 Editing Tracks and Secondary Storylines Complex Projects and Compound Clips Primary Video and Audio Sync Basic Editing Functions Routing to Tracks vs. Placing Video and Audio Separately Insert vs. Overwrite Mode and the Position Tool Ripple, Roll, Slip, and Slide Three-Point Edits Page 14 Color Grading Color Adjustments with the Color Board Secondary Color Grading Page 15 Titles and Effects Titles Effects Transitions Using Keyframes White Paper 3 Final Cut Pro X for Final Cut Pro 7 Editors Page 17 Audio Editing Audio Dissolves and Keyframing Highlighting and Muting Groups of Audio Clips Exporting Audio Stems Page 19 Exporting Share Menu Export Media Compressor Settings and Send to Compressor Page 21 Conclusion White Paper 4 Final Cut Pro X for Final Cut Pro 7 Editors Introduction Final Cut Pro X is a revolutionary editing application that includes many new concepts and features that are different from those in previous versions of Final Cut Pro. This document—structured according to the major parts of an editing workflow—uses the Final Cut Pro 7 application for comparison to discuss how to complete important tasks in Final Cut Pro X. -
Download PDF Copy of Jim Reekes' Resume
James Reekes (408) 422-5561 San Jose, CA [email protected] Summary Product Manager expert with 20 years of experience assisting progressive companies in maximizing their strategy and execution. Possesses a deep understanding of technology, market dynamics, and the product development process. Strengths include market and competitive analysis, vision, and product strategy. § Creating product vision and guiding strategy from conception to profitability. § Producing concise and prioritized business oriented product plans. § Balancing features and resource requirements with development schedules. § Coordinating engineering, marketing, sales, and support with customer requirements. § Identifying strategic markets, compiling competitive analysis, and defining products. Professional History Argon Systems (Data Center Products and Services) VP Product Management & Marketing (Feb 2016 – Present) Argon Systems is a disruptive innovator for the data center optimized for Azure hybrid cloud. We specialize in Rack Scale Design, Hyper-Converged Infrastructure, Microsoft Windows Server 2016, and Private and Hybrid Cloud solutions. § Responsibilities include strategy, positioning, marketing, and brand management. § Designed and coded a sophisticated web site, including a large and growing library of technical articles. § Increased highly targeted visitor traffic from zero to nearly a thousand per day in the first year. § Integrated CRM and digital marketing systems with the web site for customer tracking. Barnes & Noble Education (B2C digital textbooks) Director Product Management (Sept 2014 – Jan 2016) Coordinated product, services, and marketing projects with the parent company Barnes & Noble Education. Built the latest catalog of digital textbook for high ed., and an ebook reader. § Conducted market research and detailed analytics of product usage to identify valuable features. § Worked closely with the UX designer to create an innovative next generation platform, greatly reducing engineering costs while increasing customer value. -
“Then Catastrophe Strikes:” Reading Disaster in Paul Auster's Novels and Autobiographies « Then Catastrophe Strikes
Université Paris-Est Northwestern University École doctorale CS – Cultures et Sociétés Weinberg College of Arts & Sciences Laboratoire d’accueil : IMAGER Institut des Comparative Literary Studies Mondes Anglophone, Germanique et Roman, EA 3958 “T HEN CATASTROPHE STRIKES :” READING DISASTER IN PAUL AUSTER ’S NOVELS AND AUTOBIOGRAPHIES « THEN CATASTROPHE STRIKES » : LIRE LE DÉSASTRE DANS L’ŒUVRE ROMANESQUE ET AUTOBIOGRAPHIQUE DE PAUL AUSTER Thèse en cotutelle présentée en vue de l’obtention du grade de Docteur de l’Université de Paris- Est, et de Doctor of Philosophy in Comparative Literature de Northwestern University, par Priyanka DESHMUKH Sous la direction de Mme le Professeur Isabelle ALFANDARY et de M. le Professeur Samuel WEBER Jury Mme Isabelle ALFANDARY , Professeur à l’Université Paris-3 Sorbonne Nouvelle (Directrice de thèse) Mme Sylvie BAUER , Professeur à l’Université Rennes-2 (Rapporteur) Mme Christine FROULA , Professeur à Northwestern University (Examinatrice) Mme Michal GINSBURG , Professeur à Northwestern University (Examinatrice) M. Jean-Paul ROCCHI , Professeur à l’Université Paris-Est (Examinateur) Mme Sophie VALLAS , Professeur à l’Université d’Aix-Marseille (Rapporteur) M. Samuel WEBER , Professeur à Northwestern University (Co-directeur de thèse) In memory of Matt Acknowledgements I wish I had a more gracious thank-you for: Mme Isabelle Alfandary , who, over the years has allowed me to experience untold academic privileges; whose constant and consistently nurturing presence, intellectual rigor, patience, enthusiasm and invaluable advice are the sine qua non of my growth and, as a consequence, of this work. M. Samuel Weber , whose intellectual generosity, patience and understanding are unparalleled, whose Paris Program in Critical Theory was critical in more ways than one, and without whose participation, the co-tutelle would have been impossible. -
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. -
Hurricanes, Earthquakes, Tornadoes, Oh My! 6 Grade
Hurricanes, Earthquakes, Tornadoes, Oh My! 6th Grade “Hurricanes, Earthquakes, Tornadoes, Oh My!” is a performance task and accompanying unit of lessons related to the theme of natural disasters. Teachers will deliver lessons that are aligned to the CCSS sixth grade standards. The lessons include standards such as addressing main idea/supporting details, style and tone, research skills, and expository writing, all leading up to the final product of an independently researched expository essay. This performance task will prepare students for what they will experience when taking the Smarter Balanced Assessment or other similar statewide assessments aligned to Common Core Standards Written By: Kelly Bowden, J. Grace Parfitt, and Alison Price 1 Delaware Department of Education, Reading/Writing Project 2016 Lesson plan format adapted from Learning-Focused Strategies. Thompson, M., Thompson, J. (2008) Table of Contents Section Page # 1. Scope and Sequence 3 2. Planning Chart 1 8 3. Planning Chart 2 12 4. Performance Task 20 5. DOE Informational Writing Rubric (Attachment I) 24 6. Lesson Plan #1 Mammoth Shakes 26 7. Mammoth Shakes Text Complexity 30 8. Lesson Plan #2 A Night to Remember 31 9. A Night to Remember Text Complexity 36 10. Lesson Plan #3 Research 37 9. Lesson Plan #4 Expository Writing 40 10. Attachment A 44 11. Attachment B 46 12. Attachment C 48 13. Attachment D 49 14. Attachment E 51 15. Attachment F 53 16. Attachment G 54 17. Attachment H 56 18. Attachment J 57 19. Attachment K 58 20. Attachment L 61 21. Attachment M 62 2 Delaware Department of Education, Reading/Writing Project 2016 Lesson plan format adapted from Learning-Focused Strategies. -
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.