Mixing Console Special 2016
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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 -
Mixing Console Supplement 2015
Console Supplement AUDIO FOR BROADCAST, POST, RECORDING AND MULTIMEDIA PRODUCTION V14.4 JUNE 2015 41 Mixing for radio, TV and Internet 44 Developing Digico’s S21 desk 46 Cadac MegaComms explained 48 Console introductions 53 Meet your maker: AMS-Neve CONSOLE SUPPLEMENT KNOW HOW will greatly speed up your working process so you can focus on what really matters — and that’s making a great mix. Mixing for radio, I work in audio postproduction and radio and because of the popularity of Pro Tools in postproduction, it is a no-brainer for me to work with it. Besides that I like Pro Tools and I use my own Pro Tools template (stored in my Dropbox), with all the tracks routed to the right buses and some plug-ins where I like TV and Internet them. In my template I only use Waves plug-ins and that’s not because I like them so much (even though I think they sound more than decent), but because Dutch mixer GIJS FRIESEN shares his experiences of working across a every post studio I have ever worked for seems to have at least the Waves Gold wide range of different programme and output. Bundle. This gives me the benefit that I can start working with my template virtually anywhere in no time without ever having worked there before. I open s a freelance audio engineer/sound designer it happens quite frequently my template, play a reference track to find out what the monitors/room sound that I work for a postproduction company in the morning to do sound like, and off I go. -
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. -
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. -
Vo Lume, Pa Rt 1: Fiddling with Fa Ders
Vol ume, Par t 1: Fiddling with Fad e r s By Alex Case t is an axiom of the roc k and roll rec o r ding craft that of balance. Re l ying almost entirel y on volume control s , louder is better. The good old volume control is a pow- balancing a mix is one of the most important skills an Ierful audio effect—and ever y studio has at least one. engineer must master. This and the next episode of Nuts & Boltswill exp l o r e the many applications of this humble effect—some obvi - On the level ou s , and some not so obvi o u s . If music is picked up with a mi c ro p h o n e , you’ll need a A sense of balance mi c r ophone prea m p l i f i e r . Consider the first step in Guess what? Mic preamps are building a mix. Ca re f u l l y, sy s - In pop music, if the guitar is nothing more than vol u m e te m a t i c a l l y, and iterat i vel y you dev i c e s . And we’ v e got to set adjust and readjust the vol - louder than the vocals, you ’ r e the volume just right when we ume and pan position of each going to have trouble selling rec o r d to tape or hard disk tra c k until the combination (see sideba r ) . -
Delivery of Recorded Music Projects
TECHNICAL DOCUMENT AES TECHNICAL COUNCIL Document AESTD1002.1.03-10 Recommendation for delivery of recorded music projects Nashville members of the P&E Wing of The Recording Academy® formed a Delivery Specifications Committee, and in collaboration with the Audio Engineering Society’s Technical Committee on Studio Practices and Production have created The Delivery Recommendations for Master Recordings document. AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520 . New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520, New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org The Audio Engineering Society’s Technical Council and its Technical Committees respond to the interests of the membership by providing technical information at an appropriate level via conferences, conventions, workshops, and publications. They work on developing tutorial information of practical use to the members and concentrate on tracking and reporting the very latest advances in technology and applications. This activity is under the direction of the AES Technical Council and its Committees. The Technical Council and its first Technical Committees were founded by the Audio Engineering Society in 1979, and standing rules covering their activities were established in 1986, with the intention of defining and consolidating the technical leadership of the Society for the benefit of the membership. The Technical Council consists of the officers of the Technical Council, the chairs of the Technical Committees, the editor of the Journal, and as ex-officio members without vote, the other officers of the Society. -
Authoring for Dolby Atmos Cinema Sound Manual
Authoring for Dolby® Atmos™ Cinema Sound Manual Issue 1 Part Number 9111800 Software v1.0 Dolby Laboratories, Inc. Corporate Headquarters Dolby Laboratories, Inc. Dolby Laboratories Licensing Corporation 100 Potrero Avenue San Francisco, CA 94103-4813 USA Telephone 415-558-0200 Fax 415-863-1373 www.dolby.com European Headquarters Dolby Laboratories, Inc. Wootton Bassett Wiltshire SN4 8QJ England Telephone 44-1793-842100 Fax 44-1793-842101 Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Dolby Atmos is a trademark of Dolby Laboratories. All other trademarks remain the property of their respective owners. Issue 1 © 2013 Dolby Laboratories. All rights reserved. S13/26440/26818 ii Authoring for Dolby® Atmos™ Cinema Sound Manual Table of Contents List of Figures .............................................................................................................. vi List of Tables .............................................................................................................. viii Chapter 1 Introduction to Dolby Atmos Authoring Tools .......................................... 1 1.1 Dolby Atmos Overview ........................................................................................................ 1 1.2 Dolby Atmos System Overview ........................................................................................... 2 1.3 Dolby Atmos Metadata Flow with Different -
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 -
Floyd E.Toole, Arguably the World's Leading Authority on Loudspeakers, Explains What's Right and What's Wrong with Today's Speaker Systems
Retail price: U.S. $7.50, Can. $8.50 ISSUE NO. 28 Display until arrival of Issue No. 29. Floyd E.Toole, arguably the world's leading authority on loudspeakers, explains what's right and what's wrong with today's speaker systems. Also in this issue: More loudspeaker reviews in depth, by Don Keele, David Rich, and your ever faithful Editor. Reviews of unusual amplifiers, SACD players, and assorted other electronic components. Plus our regular features, columns, letters to the Editor, CD/SACD/DVD/DVD-A reviews, etc. pdf 1 contents Audio Engineering: Science in the Service of Art By Floyd E. Toole Speakers: Two Big Ones, Two Little Ones, and a Really Good Sub By Peter Aczel, D. B. Keele Jr., and David A. Rich, Ph.D. 10"PoweredSubwoofer: Hsu Reseach VTF-2 15 Floor-Standing 4-Way Speaker with Powered Subwoofer: Infinity "Intermezzo" 4.1t 16 Floor-Standing 4-Way Speaker: JBL Til0K 23 2-Way Minimonitor: Monitor Audio Gold Reference 10 24 Powered Minimonitor Speaker: NHTPro M-00 26 Electronics: Seven Totally Unrelated Pieces of Electronic Gear By Peter Aczel, Ivan Berger, Richard T. Modafferi, and David A. Rich, Ph.D. Phono Preamp with AID Converter: B&K Phono 10D 31 Headphone Amplifier & Signal Processor: HeadRoom Total AirHead . ......32 2-Channel Power Amplifier: QSC Audio DCA 1222 33 1-Bit Amplifier & SACD Player: Sharp SM-SX1 & DX-SX1 35 5-Disc SACD Player: Sony SCD-C555ES 36 AM/FM/DAB Tuner: TAG McLaren Audio T32R 37 AV Electronics: A Big TV, a Bigger TV, and Other Such By Peter Aczel and Glenn O. -
Car Audio Systems Reno NV Autofidelity Glastonbury CT Boston Road Customer Center Bronx NY 1-800-662-2444.) Auto Sound, Ltd
5 27276 0 *T60A00681438401I9r0-S***********86S20 2a2017 2660Et. HD8 T60A0068 tTOL 06NUr 8W CIAO() S N8N8113118 0068 M0113A 224PSO 311In6in01 000M 18 AN 2220( 41 CARTRIDGE PHONO SHURE LOUDSPEAKERS ALLISON PLAYER DISC COMPACT JVC REPORTS: TEST GUIDE BUYING DECK CASSETTE SPEAKERS RIGHT THE CHOOSING CLASS THE OF HEAD SYSTEMS AUDIO CAR Reserved for purists, At this level, beyond mere commercial practicalities, A new lower -midrange driver, the Large-EMIM, was Infinity seeks to find its own: The few for whom created. This push-pull planar driver reproduces the music is an obsession, for whom price is no object in critical frequencies from 70 to 700Hz-that vital area attaining the absolute perfect re-creation of sound. containing most of the musical fundamentals (an area The speaker system we've named the Infinity ill -served by virtually all speaker designs, with attend- Reference Standard Beta was really built to prove ant loss of the natural warmth of instrumental voices). to ourselves, after building the legendary $45,000 Two L-EMIMs optimally cross over to an improved Infinity Reference Standard V, that lightning could EMIM with new high -gauss neodymium magnets and strike twice in the same place. lighter diaphragm, for impeccable midrange transient We designed the IRS Beta as a true point source, response and detail. capable of generating an incredible 15Hz to 45kHz And an EMIT and SEMIT (Super EMIT) produce response with effortless (and seamless) musicality. the upper octaves and overtones to 45kHz with Four 12 -inch injection -molded polypropylene/ a transparency and openness that is airy and "live graphite woofers are servo -controlled for state-of-the- In total-a speaker of unprecedented overall musical art bass reproduction. -
Use Audio Mix Automation and Control Surfaces
CCSMT42 Use audio mix automation and control surfaces Overview This standard is about mixing and production techniques which involve significant amounts of automation creatively to achieve specified results. Good Develop techniques for using professionalquality mixes DAW often sequencer contain packages a substantial / computer number based Sound of dynamic elements which Processing can add interest and change as the piece progresses. On a simple level, you may be called upon to implement techniques, such as dropping the level of a competing instrument in the mix every time the main vocal comes in. In this way, automation can be used as a process similar to the subtle use of compression. The process of automation can also be used more creatively. For example a guitar track could be affected with volume automation data in order to simulate a tremolo effect. You will use a broad range of common techniques, including the creation of snapshots, time-based automation, auditing parameters available for automation, saving and recalling data and the process of reading and writing automation data. You will also use and evaluate control surfaces which can be used alongside software-based packages to create more flexible ways of controlling the automation process. This standard utilises the multi tasking skills expected of today’s recording engineers, editing engineers, mastering engineers, mix engineers and programmers. You need to demonstrate experience of using mixing and production techniques which involve the use of significant amounts of automation to achieve creative results. This might involve digital hybrid consoles and their individual bespoke menu systems and functions. Users will require a good working knowledge of automation parameters and processes.