Beemp3.com - MP3 Search & Free MP3 Downloads 47 Sites Every Recording Musician Should Visit In a recent “Open Mic” we asked you, “Which music-related sites do you visit regularly?” This article is a summary of the great suggestions given in the comments to that article. You can make the list even longer by commenting on this article. As you’re reading this article, Audiotuts+ needs no introduction. This is a great Flash site with many resources to help you learn music theory. The site content is split up as follows: Lessons, including topics that cover notation, chords and scalesTrainers, that teach you notes, keys, intervals, triads, keyboard, guitar and brass. Michael comments: “I have found very helpful. This is a site that helps you with scales and chords. The charts are guitar-based, and there are options for various alternate tunings and other stringed instruments. A website that helps you learn musical scales and chords. Subtitled “Learn music technology”, this site is all about learning audio. Joe comments: “Great Ableton/sound design videos.”
Audiocite.net: Livres audio gratuits mp3 How to Calculate Delay Time to Tempo Beat « ConradAskland.com Here’s how to calculate millisecond delay time to your tempo so you can make adjustments on the fly (or just set it correctly for a hardline beat delineation.) Needless to say, if you’re not going for strict tempo beat pulses then you can skip equations and do this “by feel”.It’s very simple if you remember this equation: * Delay time in ms (Milli-seconds) = 60000/BPM (Beat Per Minute) Will give you a quarter note delay time. * Crotchet (Quarter note) timing in ms (Milli-seconds) = 60000/120 (BPM) = 500 ms A millisecond is 1/1000th of a second, and tempo beats per minute (BPM) gives you an exact beat count per minute. (120BPM is 120 beats per minute.) The above equation gives you the timing for every beat (i.e. the delay repeats will be synchronized with your beats). The same thing in a musicians term will be as under : Example : Suppose your song tempo is 120 BPM, then the delay calculation is as follows: Explanation : BPM means beats per minute.
Nature Sounds Compressor control principles A short compendium on digital audio compression techniques. Basic compressor configurations Compression vs. limiting Technically speaking the same principles are used in audio signal limiting and compression processors but just the transfer curves and envelope follower settings are different. Ultra fast attack rates and high ratio amounts are used for limiting purposes which causes just very few peaks to pass on a certain threshold. In digital implementations limiting processors can be more strict due to look-ahead and clever gain prediction functions which guarantees that no peak information passes the threshold. Sidechain routing The audio signal path on which the gain reduction amount is actually computed is called the sidechain. FF and FB sidechains can be combined or mixed if the delay between them is properly compensated. Sidechain filtering can significantly change the behaviour of the gain reduction processing afterwards. Multichannel compression The envelope follower Closing comments
uWall.tv | Listen to a Wall of Music © 2021 - Privacy - Terms Pensado's Place - Learn how to produce, record, mix, and master music and audio Create Music Beats - The online music factory - Jam, remix, chords, loops JamStudio for 2021! Download the Windows App or Mac App to keep using JamStudio! DO IT NOW! This app will work after Flash is removed from browsers in 2021! Windows AppMac App Thanks for using JamStudio. After downloading the app, copy it to your desktop and run it. The online music factory - Jam, remix, arrange chords and loops - Free online band, free online mixer, desktop arranger, music arranger, music arrangement, music creator, online producing, band arrangement, garage band composer, sony acid...
Metering Audio metering is one of the most confusing and complex aspects of sound recording. Technical Editor Hugh Robjohns answers some of the most common questions on the topic. There are literally dozens of different audio metering systems in common use around the world — and they often appear to read completely differently when supposedly displaying the same audio signal! Q What are the meters really for? All audio material has a certain dynamic range — the difference between the highest and lowest acceptable levels. Beyond the technical considerations of avoiding overloads and maximising signal-to-noise ratio, the majority of level meters found on recorders and consoles are really only intended as an aid to balancing sound levels — the human ear should always be the final arbiter because, self-evidently, if it sounds right it is right! Q What's the difference between VU and PPM meters? Q Why do some meters have very different scales to others, and how do they compare? Q What is a phase meter?
Acoustics Harnessing The Power Of DSP In the previous segment, we looked at the basic process of using a high-resolution FFT (Fast Fourier Transform) analyzer to view the frequency and phase response of a 12-inch cone driver in a typical 12-inch/2-way loudspeaker. In that segment, we established that the 30-degree off-axis response of the cone driver is substantially lower in level (12 to 18 dB), as well as highly irregular in phase and frequency above approximately 2 kHz, when compared to the driver’s on-axis response (Figure 1). This information allows us make an educated guess at the range where the cone driver should be crossed over. In this particular case, the 30-degree off-axis response is linear up until about 1.28 kHz, after which the output until about 2 kHz. Therefore, the optimal crossover could be as low as 300 to 500 Hz (for loudspeakers that employ a mid-range driver) to as high as perhaps 1.3 kHz, while still maintaining a 60-degree angle of vertical dispersion. Page 1 of 4 123>Last » Next
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