Vrlo često pitanje … vrlo puno odgovora… svako neku svoju politiku vodi i priča, pa evo i brzog i jednostavnog odgovora

Ako uzmemo u obzir ozbiljnije sekvencere:

• Logic Pro
• Pro Tools
• Cubase
• Nuendo
• Studio One
• Sonar
• Ableton Live
• Magix Samplitude

U principu svi oni zvuče isto, i kvaka je samo do Vaše zvučne kartice. Sve ostalo je placebo efekat
Mnogi kažu, ali pro tools zvuči baš pro ! Pa jeste ali Pro Tools koristi specifični hardware (zvučne kartice) te ga nemožete pokrenuti na običnoj zvučnoj kartici – u tome je kvaka. Oni su se dobro osigurali. Za pokretanje jednog PT LE potrebna Vam je DIGI002 ili 003 kartica koja košta od 500 – 1200 EUR, pa sad skontajte zašto zvuči tako PROOOOOO !!!

Specifični (bundled) programi kao što su:

• FL Studio
• Reason
• Magix Music Maker

imaju za nijansu drugačiji zvuk (specifičan) zato što su osmišljeni da sve dobijate u paketu i da ne mislite previše o njegovom finalnom produktu – songu koji napravite, tako da već kod izlaza po defaultu koriste kompresore, limitere i slično te stoga zvuče drugačije. Po meni su ovo dummy programi, znači drag’n'drop & play…

Savjet: ne prihvatajte sve zdravo za gotovo po razno raznim forumima, jer mnogi ljudi kažu da ako hoćeš da praviš dobru muziku treba da koristiš programe kao što su E-Jay ili Magix Music Maker i slično…

Vrlo interesantan uradak

Thinking about playing a little bit with digital music? If you are, you’ll probably need 4 basic things to get started:

1. A nice up-to-date computer (with huge processor and memory if possible)
2. A good (kind-of) professional software
3. A pair of good monitor speakers
4. A MIDI keyboard

If you are just like me, then we’re probably alike… I mean, then you’ll probably be on a short, tight budget, which means spending as little as possible. So here’s how to save a few bucks, and still get to do something of beautiful quality:

1. Can’t help on this one, if you don’t have a powerful computer, you better save some money first. This is a MUST.
2. Well, you know, software isn’t cheap, but luckily there a lot of organizations which provide professional software for free… (blink, blink, if you know what I mean) so just take a look around or go the better way: free software (Ardour, Rosebud, etc. Tutorial on those coming up soon!)
3. On this one you can go three ways: Either you use any speaker, and hope to have a great ear; you actually buy a good pair of monitor speakers, or you may make a smallest investment by buying monitor headphones. There are lots of them, of every kind, and those might actually be less than half the price. Of course, it won´t be comfortable for long sessions, but it will work for some time at least.
4. Here is where you can really save some serious money. Go from hundreds to nothing by just giving up some usability. Let´s see how…

First thing first, as this is a Virtual MIDI Keyboard it will obviously be software emulated, so we need to download some software to use it. Don’t worry, it’s free so you don’t need to worry about licensing. We will actually be using two pieces of software:

• The MIDI driver for Windows, (there are plenty, I chose) MIDI Yoke for Windows
• The MIDI keyboard software itself, (there are also plenty, I chose) Live MIDI Keyboard

When both programs finish downloading we need to install them and restart the computer so the MIDI driver can get a hold of the required resources. Once done, we need to configure both things to work together.

Simplily open the Live MIDI Keyboard and in the upper right corner click on the devices button. You can leave the MIDI in option in the default, and for the MIDI out, just choose one of the buses created by the Yoke driver, any you like will do, as long as it’s not the same as the MIDI in.

Done! We are good to go and start making music with this little toy. The only thing you need to do is open your favourite composing software and select the correct MIDI in port, i.e. if you selected bus 2 in the Live MIDI Keyboard MIDI out, then select bus 2 as MIDI in in the software of your selection, and the keyboard will be automagically connected. Just keep in mind that you need to have the keyboard software on top so that it will capture your computer keyboard strokes.

As an appendix, here we have the instructions to correctly connect the Live MIDI Keyboard with Propellerhead Reason and Steinberg’s Nuendo which are top choices among musicians and of course, the two I best know.

Reason

• Open Reason and add a mixer and a synth (Thor, Malstrom, SubTractor, etc. Samplers will work as well) and select a nice patch of your choice for it.
• Go to Edit->Preferences… , select the Page tab and once there, select Control  surfaces and keyboards.
• Click Add and select Other in the Manufacturer box. Below choose <other> MIDI Keyboard Multichannel.
• Now select the correct bus in MIDI in, corresponding to the Live MIDI Keyboard out. Select the same port in the Advanced MIDI tab.
• Close the Preferences Box, set Reason to record mode, bring the software keyboard to the top and just get creative!

Nuendo

• Open Nuendo and create a new proyect (or open an existing one) adding a MIDI track.
• Go to Devices->Devices configuration… and search the Default MIDI ports option.
• In the box that appears, set the MIDI In , just as we did with Reason, to the same MIDI bus we set for the Live MIDI Keyboard MIDI out.
• Click OK and set Nuendo into record mode on the MIDI track, bring the Live MIDI Keyboard to top and start playing.
• Voilà!
• Note: If you want to use the Live Midi Keyboard to control other Nuendo instruments (i.e. VSTi), you need to change the configuration of the desired instrument to get MIDI input from the same Yoke bus.

I hope you find this useful wether you’re on a low budget or you are a laptop user who doesn’t want to carry around an extra keyboard everywhere you go.

As usual, comments, questions and criticism are very much welcome and encouraged.

By Daniel Graves
Contributing Writer

Music is undoubtedly changing in every aspect such as sales, media, video, distribution, ownership and rights.  It has always been assumed that if you have a song on the radio being signed you concludes stardom.  Now with the internet expanding in ways we are not prepared for, the music industry has left a big gap for motivated and talented artists to own and profit from their own artistic talents.

This is how you get your business right.  First become a member of The American Association of Composers, Authors and Publishers [A.S.C.A.P.] or Broadcasting Music Inc. [B.M.I.].  Next, get online and research places to sell your music such as iTunes and CD Baby.  You want to hire a professional music lawyer once your music is copy written and mastered.

Success will arrive with professionalism, education and a growing passion for the art of music production.  Take a few classes at a local community college about music recording and business.  Learn music recording programs such as CuBase, Nuendo, Pro-Tools or Sonar. 

Get equipment for recording.  Purchase the most affordable software with an interface, outboard compressor and pre-amp.  Find a condenser microphone and stand with a Popper Stopper.  Buy a 2.5 motherboard/processer combination [at least] that is able to take at least four gigs of ram.  You may use a soundcard with Midi keyboard inputs.  This usually runs about $250.  One midi keyboard controller and you are ready to track out and record. This is affordable for under $1500.

The most talented people can become extraordinary when they also work hard, stay focused and execute. If you are meant to do this you must make sacrifices. Much love and luck.

Welcome everyone, this is a new space I’ll be occupying on the net with two main purposes:

1. Provide technical insights on Linux (mainly Debian) and other Un*x OSes, and mostly anything technical related to computers/servers/laptops and we’ll be digging on digital music a little bit along the way as well.
2. Practice my english/writing skills, as they may become unused now I’m working for a non-US company.

Everyone is invited to add comments, questions, criticism, and money into my paypal account, if you believe I deserve so.
So, stay tuned, bare with me and enjoy as much as you can!

P.S. For those of you who speak spanish, you may find useful to visit this other wordpress blog I own.

Clayton Johnson aka exiledibrave

Clayton Johnson
aka exile dibrave

Date of birth: Jun. 30, 1983
City: Kingston, Jamaica
Genre: dancehall reggae

Biography:
This young upcoming dj straight out of Portmore, Jamaica is currently enrolled at the University Of Technology in Jamaica pursuing a degree in engineering which limits the time he get to put into his musical works, but exile doesn’t mind because he strongly believes in getting a solid education first.

With his two childhood peers Gerron Thomas (KONIAK) and Mario Grey (KRITIK) they form a rap trio called N.H.C which means narrating hostile conditions. They dropped a mix tape in 2003 which explains all the things that their surroundings had to offer, telling the bright and the dark side. Gaining good respond from songs such as poor cold and lonely, you don’t want beef, and hungry girls.

Known to friends as Nago, whose government name is Clayton Johnson, is a 23 yrs old musical artist born and raised in Naggo’s Head, Portmore has his own mark to make in this music biz.

The former Camperdown High School student just won’t stop working on his musical craft. After leaving high school in 1999, he started exploring his talent and started to rap as the hip hop genre took a big step in the Jamaican culture.

Since then their talent has grown into different styles and technique. EXILE now a student at the University Of Technology of Jamaica has become to appreciate Jamaica’s own reggae dancehall music, which was the first music he had come to know. Bringing across the same sharp lyrics and melodies from hip hop and transforming them in Jamaican Creole (patios). He is now a reggae dancehall artist on the underground scene and planning to see the top with songs such as solid, strange, very hot, like or as, and story telling to match any situation, he writes songs for whatever stages life can take one through. For the years to come the music industry and the world will see more from this raw talent, a diamond in the dust, he’s a force to recon with.

Clayton: “well i was born in Kingston Jamaica, but raised in the neighbouring city of Portmore ever since. I have being always driven by music, but started when i left…  high school in 1999 writing songs. since then i have worked, went to college and improved on my craft. now i’m what they would call a dancehall reggae aritst merging with hip hop, RnB or what ever sounds good and is soulful. now i’m just doing music full time and want my voice to be heard (laugh).”

Clayton Johnson aka Exile Di Brave

anyways check it out
http://www.exiledibrave.com
http://www.myspace.com/exiledibrave

Promotional:
♫ Exile Di Brave – Demo & Promo Stuff

On Progress 1st European Tour.
Info comes still soon
enquires and questions for the forthcomming tour: ffa@technoagent.de

Right so today’s the day of the big campaign presentation. The ads are a bit of all right, and frankly the pressure is on! The client has indicated they’ve got a fair bit of cash in the piggy bank to play with, the sales rep is psyched, the sales manager is practically besides themselves with the thought of increased revenue. So… What can you do to ramp up your chances of blowing the clients hair back? Well here’s a few ideas that can help.

1: Present in the best possible environment.

Don’t go and play your campaign in the reception area. Don’t play it over the phone, via computer or on one of those $50 CD players that every radio station seems to arm their sales team with! Instead, book out a studio and invite your client in. Sit them in the best looking, most comfortable chair available, ply them with coffee (or whiskey if you have it at hand) and make sure they’re free of distractions.

Clients love feeling like they’re part of the show business that is radio, and studios are about as close as many of them will ever get. And here’s a tip. Make a point of getting your mobile phone out and turning it off. Your client will probably follow suit. Ready? Not quite… Take the studio phone off the hook, dim the lights and begin your spiel!

But before you do that – you need to prepare.

2: Have a plan and follow through with conviction.

To ensure your presentation will go well, do some prep! Scout out your studio, ensure that it’s tidy and that the client will be seated in the ideal position. And what is the ideal position? Right in front of the speakers of course! If you have an engineer playing the ads, try to make sure they don’t have their back to the client through out the presentation, that just looks rude. Have scripts printed out so they can be shown upon request (only upon request may I add) and most importantly… Listen to the ads to ensure you’re familiar with them! In doing so, take the opportunity to judge the commercials. Then lead with your strongest ad. If you have a quirky / odd ad in the series, play it last. You can introduce it as ‘something a little out the box’. Clients love it when you bring slightly left of centre ideas to them. They may not use the ad, but they do think it’s great that you haven’t just put together ads that all sound the same!

If you are lucky enough to work with a fancy schmancy multi-track editor that features all the flashing lights / bells and whistles – make sure they’re at full effect for the client to see. Heck, if the engineer has time, get them to programme the fades into the mixer. This sort of thing can blow the tech savvy client away.

3: Have a backup CD ready.

‘Flash as’ Nuendo, Adobe and Pro Tools setups are standard issue through out the industry… it doesn’t mean they’re 100% reliable. Always have a CD of the ads burnt, and sitting in the CD player, ready to play in case the PC crashes. Even if you don’t use it, you can still quickly pop it in a case for them to take away with them.

4: No scripts.

By no scripts… I mean don’t go in with a prepared, fully written speech. The client isn’t there to hear you blabber on and on about the gag at the end of ads #4, or about why you chose the underscore of the music, rather than the full mix down. They’re sitting in your studio to hear the ads! By all means re/introduce yourself and the production engineer. Quickly sum up your last meeting (if you had one) and then prepare them for what they can expect to hear. You don’t need to give them a script… This is IMPORTANT. Do that, and there’s a very real chance that they’ll focus on the script in their hands, and not the audio you’re playing to them. And you’ll never wow them with a bit of paper… but you will blow their mind with some top notch theatre of the mind. So what do you do? Give them a couple of key points to listen out for.

For instance:

‘Last time we met you said you wanted to target 17 year old teenagers, so we’ve done that by using 17 year old voice talent speaking in a language typical of their peers. And you also said you want your tagline to match the one on your logo… now listen out, because it comes up just before the end of your ad’.

Once you’ve played the ads, summarise by saying:

You : ‘Did you hear the teenage actors?’

Client : ‘Why yes, yes I did.’

You : ‘Did you hear your tag line in there?’

Client : ‘Yes – it was at the end like you said it would be.

You : ‘I’m hearing you say yes a lot. I take it you love the ad!’

Client : ‘Of course I do! Please take all my money!!!’

Sorted…

5: Volume.

It has been scientifically proven that people like loud music. You can experience this for yourself. Go to a live gig, look around the faces of the euphoric audience and you’ll realise that they’re in seventh heaven. Not only do they like the music that’s playing – they LOVE the volume! So when you’re presenting an ad, get the studio operator to turn the volume up! Now most studio operators set the volume to a level that is comfortable for them when they’re sitting at the desk all day long. Well here’s the thing… Clients don’t sit at the desk all day. And during the presentation, they’ll probably be positioned back a fair way. So crank it up a notch or two more than you normally would. Trust me, this works a treat.

While these are some very basic tips, they really do help you swing the odds in your favour. If your ads are half decent, you don’t stumble your words, you’re presented well and you don’t call them your mothers name repeatedly, they’ll probably give you the thumbs up. Clients are great like that!

NBA Live 10 : Debut Trailer
Original VDO : http://www.gametrailers.com/player/51407.html
Created : August 2009

This is my first time doing sound design. I used Nuendo3 teamed up with Reason4 on PC. Please let me know what u think about this demo. Thanks in advance for all comments.

Nuendo (Screenshot)

Last week I tried to make my first sound design demo using Nuendo3 teamed up with Reason4. It was a makeover of all sound in NBA Live 10 trailer. The original video was downloaded in WMV format which I thought it should compatible with my Nuendo on Windows. After imported WMV into Nuendo, it could be played but came many problems.

In edit mode, when I move any events to sync with video, the video was very very slow to update the current frame showing on video player. I don’t know why DirectShow video player can’t playback this WMV, I had to use DirectX instead. Furthermore, when I played the video after some SFX was placed in a right spot, everything was off-sync. How Come? I assumed that WMV required much processing power to decode. So, I decide to convert the video to something which requires the least processing power. Therefore I convert it to AVI (Uncompressed). It came up with 800MB for 30-sec video.

AVI (Uncompressed) worked very well in Nuendo but its size was what I concerned. Searching in Google for suitable video format for Nuendo/Cubase took me to this page. (http://knowledgebase.steinberg.net/253_1.html) It’s such a useful information from Steinberg’s knowledgebase.

According to the knowledgebase, AVI format with Cinepak codec was recommended for Windows PC. Indeo video codec from Intel was also mentioned. I tried them both. Both Cinepak and Indeo still worked really nice in Nuendo, compare with AVI(Uncompressed), yet much smaller in size. They were about 30MB each. AVI with Indeo codec was a bit smaller, so I used it. I finished this 30-sec demo using AVI(Indeo) video with no problem at all.

I’m starting new demo. Of course, the video was converted to AVI with Intel Indeo codec again. It’s my codec of choice in working with Nuendo on Windows so far.

Link : http://knowledgebase.steinberg.net/253_1.html

Steinberg ha annunciato che il nuovo aggiornamento per Nuendo 4 avanzato, per  audio e post produzione, sarà disponibile per tutti gli utenti Nuendo 4 registrati dal 31 luglio 2009, come free download dal sito Steinberg.

Secondo la compagnia, la versione 4.3 dovrebbe concentrarsi sul miglioramento della stabilità generale del sistema risolvendo alcuni problemi come il file import, il surround ela funziaonalità generale delle session. Nuendo 4.3 dovrebbe seguire la politica Steinberg essendo in grado di aprire progetti di Cubase 5 music production system.

Večeras sam testirao rad u Nuendu, što se tiče omnisphere i rezultat je skroz ok. Stvar radi ko čvoka. Pokrenuo sam i do 5, 6 instanci omni-ja što sa Cubase-om mogu samo sanjati…

Definitivno switch to nuendo

a fakat i ljepše izgleda Cubase je baš onako napucan bojama itd… Nuendo je dosta ljepši.. više liči na Cubase 4.

Inače Cubase i Nuendo su (gotovo) dva ista software-a, iste kompanije Steinberg. O razlikama drugi put.

Nuovi template per gli utenti NANO KONTROL by Korg, in particolare per i software: STEINBERG NUENDO, SONY Creative Software AcidPro7.0, Numark Cue/Virtual DJ, Native Instruments B4 II e Spectrasonics Stylus RMX.

Scarica:

NANO KONTROL TEMPLATE 9/6/9: NUENDO,AcidPro7.0, Numark Cue/Virtual DJ, N.I. B4 II e Spectrasonics Stylus RMX (3.038,3 Kb)

Nuendo kan også brukes til det.

Following @NABshow and @AvidTechnology in Twitter let me get a lot of news & updates about AVID. I’m not familiar with high-end video editing system, so what I know about Avid is it acquired Digidesign for years.

In the last month, I’ve heard more & more about Avid. This is because Avid is trying to integrate every products under the name of Avid together; including products from Digidesign, M-Audio, Pinnacle and Sibelius. I think it is Avid’s re-branding. Take a look at its new logo, I like it, much better than the previous one.

There’s an common Avid menu-bar showing on website of all companies acquired by Avid. This helps very much to get the image of integration. Furthermore, Avid demo the new features in Protools 8 HD which sync Protools system with Avid video system in NABshow last month. After years of taking over, this year Avid clarifies what is the advantage of having many companies under the same roof. This is the same things Apple and Adobe have done for a while, which is the way media-world is going. The line between audio and video production is blurred, these two need to be integrated for seamless workflow.

For Twitter users, all news and updates for both Avid video and Digidesign’s Protools are going through only one Twitter account, @AvidTechnology. Also, videos are posted on the only Avid channel on Vimeo. The video embeded above is Avid 2009 Customer Reel taken from Vimeo. Damn cool!

So what about Nuendo which is widely used in audio post-production? Steinberg has been acquired by Yamaha. Yamaha has no video-editing product so far, they should think about what to do with my beloved Nuendo in the long run.

PS. I’ve heard from someone that Digidesign is now called Avid Audio, correct?

Posted  by  Sharks

Although copyright infringement lawsuits are nothing new for hip-hop, rapper Lil Wayne has flipped the script by suing his producer Jim Jonsin for sampling a folk artist’s song without permission.The song in question, ‘Once,’ by Karma-Ann Swanepoel, was sampled by Jonsin on Wayne’s mixtape track ‘I Feel Like Dying.’

An attorney for the Swanepoel’s publisher filed suit against Weezy last year, claiming that the New Orleans rapper did not receive permission to use the song. They also claimed that by performing ‘I Feel Like Dying’ live and allowing fans to download it for free on his website, Swanepoel’s music was illegally used to promote Wayne’s platinum-selling album, ‘The Carter III.’

Continue reading Lil Wayne Sues ‘Lollipop’ Producer Jim Jonsin

Posted  by  Nia Beckwith

Snoop Dogg has found himself at the center of a $22 million dollar lawsuit filed by a man who claims he was hit by the rapper with a brass-knuckle microphone during a Seattle concert back in 2005. Snoop, whose real name is Calvin Broadus, took the stand for close to two hours on Friday (April 24) and denied his involvement in the altercation.Richard Monroe, Jr. claims he was seriously injured after Broadus and members of his entourage and security beat him and poured alcohol on him while performing the single ‘Gin and Juice.’ Monroe says he was responding to what he believed to be a call for audience members to join the rapper on stage. Following the altercation Monroe claims he woke up backstage naked in a pool of blood.

Continue reading Snoop Dogg Testifies in $22M Civil Suit Trial