Architecture of a Digital Audio Workstation

Architecture of a Digital Audio Workstation Introduction A digital audio workstation (DAW) is an electronic tool, or program/software designed around the production of audio recording, editing post-production etc and often even video files. This tutorial will focus on illustrated components from FL Studio 12. A DAW can be broken down into three main components†¦. Recording audio from analogue and other sound sources Editing that audio with a variety of effects and plugins Exporting a project into an audio file (mp3, wav, flac, etc) Inputs and Outputs As touched up upon in my guide about the processes and components of a studio recording, in order to record audio, you need an ADC, and DAC in the form of a microphone or other sound source, when you connect the hardware up and boot the software, you will have to tell the DAW where it is recording audio from when starting a new project. This is where the mixer, and auxes/buses come in. What is an aux/bus? A bus is a connection of many different inputs/signals, and sending however much of the signal you want to another track, such as an aux. This is particularly useful for if you have found yourself creating a particular complex project. If you had for example eight drum tracks, it could be difficult to manage them all individually, so you can send them as a bus to an aux track for further editing to the mix. An auxiliary track on the other hand, is an actual track that can be manipulated. The aux track is the result of where your inputs have been routes, and is where you would process it with effects, such as reverb, compression or delay. Think of the aux as a sub-master track for these effects. The Interface The main elements you will come to use on the interface are the channel rack, piano roll, mixer, timeline. Most of this is commonplace to other DAWs, with minor differences to plugin usage. The mixer is very similar to a mixing desk. Here you can route channels to an insert (one of the many columns to the left), once a channel is routed to here, you can begin to add effects such as reverb, panning, equalization (EQ) and also record and add effects to audio in real time from microphones and other sound sources. In a typical studio setup, a physical mixing desk will interact directly, combined with automation, allows for a lot of interaction with each component. The piano roll allows you to essentially draw MIDI. It communicates with plugins that have a sound bank, such as Image-Lines Harmor, or Sakura to play the notes that you draw. You can also connect a MIDI controller, record what you play, and quantise to clear up imperfections. Various DAWs also feature a timeline where the body of your music is presented. In FL Studio 12, it is presented in the playlist, where you paint in patterns think a pattern for a drum loop, or certain parts of the song that occur more than once throughout a track. On a DAW such as Pro Tools, most of the editing is accessed via the timeline itself, granting easy access to plugins. Exporting your project When you are satisfied with a project, it is important to know your options when ready to convert the project into an audio file, which may determine the overall quality of your track When exporting a track, think how you would like that to be distributed. The .mp3 is the most common file type. Exporting at this quality usually ranges from 192kbps to 320kbps, the lower this value, the lower the overall quality, though the smaller the file size. Various places, such as Bandcamp allow for people to download your track in any format that works for them, in cases like this, .WAV, or .FLAC might be most appropriate file type, as these are types of Iossless compression retains more of the raw audio data, no loss of quality, compared to the lossy compression using .mp3 which attempts to remove data that your ears cannot normally cannot hear. Conclusion Hopefully you have been able to learn more about the interface of a DAW, while my preference is for FL Studio, there are many other popular DAWs like Pro Tools, Logic Pro and Cubase. When working with a DAW, I like to see it as a playpark, a place you can be as creative as you wish, there is no wrong way to make music, though being armed with the knowledge to start, will make the process much more enjoyable, and feel more natural. Sources http://www.signaturesound.com/recording-review-using-auxes-and-buses/ https://www.lynda.com/Ableton-Live-tutorials/What-digital-audio-workstation/120600/131990-4.html https://www.image-line.com/support/FLHelp/ http://www.mediacollege.com/audio/eq/

In Search of How People Change

How people intentionally change addictive behaviors with and without treatment is not well understood by behavioral scientists. This article summarizes research on self-initiated and professionally facilitated change of addictive behaviors using the key transtheoretical constructs of stages and processes of change. Modification of addictive behaviors involves progression through five stages—precontemplation, contemplation, preparation, action, and maintenance—and individuals typically recycle through these stages several times before termination of the addiction. Multiple studies provide strong support for these tages as well as for a finite and common set of change processes used to progress through the stages. Research to date supports a transtheoretical model of change that systematically integrates the stages with processes of change from diverse theories of psychotherapy.REFERENCES Abrams, D. B. , Follicle, M. J. , & Biener, L. (1988, November). Individual versus g roup self-help smoking cessation at the workplace: Initial impact and 12-month outcomes. In T. Glynn (Chair), Four National Cancer Institute-funded self-help smoking cessation trials: Interim results and emerging patterns. Symposium conducted at the annual eeting of the Association for the Advancement of Behavior Therapy, New York. Beitman, B. D. (1986).

Globalization in the Music industry Essay

The music industry has been around for over two centuries (PBS). Its volatility can be measured by its ability to shift and change according to its time period, the technologies that arise through the ages and the public’s shift in musical taste. The music industry is comprised of many different components, organizations and individuals that operate within it. Some of these components include the artists who compose the music themselves, the producers that engineer the sounds created by the artists, the companies that handle distribution and promotion of the recorded music, the broadcasters of the music such as radio stations, and professionals who assist the artists to further and better their livelihoods, such as lawyers and managers. All of these components work in cohesion to compose what is the larger industry of music. In order to fully understand how the music industry has survived and changed in the face of obstacles, one must look at its short history. The music industry only really started to emerge in the 19th century when sheet music began to be printed and distributed. People did not listen to recorded music until 1877 when Thomas Edison invented the original phonograph, so instead they would buy sheet music and play the music for themselves. Over the next century technologies were invented that streamlined the recording and listening of music such as creation of records, jukeboxes and the household radio. Mass production techniques were invented at the turn of the century that allowed music listening to become a regular past time, which propelled the profits of the music industry. Household music listening soon became adopted worldwide and thus shaped the industry that we know today. Globalization has both benefited and plagued the modern music industry. It has allowed for the worldwide spread of music globally through technological breakthroughs such as radio and more modern technologies such as digital distribution. Contrary to this, these modern technologies have also led to some of the greatest downfalls of the music industry, almost crippling it permanently. Recording labels have been forced  to completely remodel they’re respective business models in order to adapt to the advent of the digital music era. The sector has benefited from globalization in more than one way. For instance, these days, it is so easy to find share and listen to music, anyone with a computer can have access to listen and buy music. Also because of the rise of the Internet, artists aren’t confined to national boundaries. Music these days transcends borders (Bloomberg). In the case of Justin Bieber, a Canadian whose music is recognized and accepted widely by the youth of the world, has fans spreading continents all because listening to his music just requires looking up a song name on Youtube. The rise of digital technology and the Internet allows for the industry to bring together the world by finding communalities in musical taste with mass positive reception for an artist and the music he or she creates. No matter if a person is from Egypt or Tha iland, that person can access and enjoy the music of any artist he or she desires. Although the music industry has benefitted from globalization, most of its pitfalls have arisen from the same source that is globalization. The rise of digital technology and the Internet has bankrupt many of the music industries biggest names. A prime example of this is court ordered liquidation of Richard Branson’s 26 Virgin Megastores closings in France due to the rise of online music retailing such as Apple’s Itunes music store, which led to Virgin France’s bankruptcy in 2013 (BBC). Another fatal blow to the music industries crippled foundation was the rise of online piracy. As easy as it is to go online and buy or stream music, it is just as easy to steal it. There are thousands of websites dedicated to music piracy. Although music piracy has been on the decline in the past couple years, still about 11 percent of people using the Internet admit to downloading music illegally (Bloomberg). Over the past decade, the use of CDs has been replaced with online streaming and retailing. This has eliminated much of the record companies revenues as they were used to making most of their profit off of distribution and promotion of physical copies of artists albums (Niemen). This has caused for a major shift and remodeling of major players in the music industries business models. Companies such Sony, Warner Music Group and Universal Music Group have started to completely rethink the way they conduct business (Forbes). In the past record labels were not only responsible for production, distribution and promotion of an artist and  his/her music, but they also acted as a bank (Forbes), funding the artists tours and recording sessions. Recently, these music giants have been moving towards becoming more of a modular network organization. What this means is that they are less occupied with the nitty gritty, and more focused on what they do best which is distribution and promotion. Th is also allows for more freedom of creativity for the artist as well as fairer split of profits (Forbes). This adaption of new business models clearly shows the versatility of the music industry in adapting to new times and technologies. One can only speculate the future of the music industry. As aforementioned, the music industry is in constant flux, changing shape and adapting to new trends and innovations. If the music industry can survive the blows dealt by the rise of the digital era, than in my opinion, it can withstand whatever test time delivers. Hopefully, as the future of music and globalization proceeds, we will see a convergence between the music industry, artists and consumers that will benefit all parties. Globalization has the power to ruin industries or propel them to heights unseen. In the case of the music industry, although it has been affected negatively in the past, recent data shows that for the first time in years, the music industry has seen growth due to globalization and the widespread popularity of the artist Adele (Bloomberg). This proves that something positive can be found in every negative experience, especially in regards to globalization and the music industry. Sources: Lin, Cheng-Yi (2014). The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry. Vol. 51 Issue 2, p335-354. Percival, J. Mark (2011). Music Radio and the Record Industry: Songs, Sounds, and Power. Popular Music & Society. Vol. 34 Issue 4, p455-473. 19p. GÃÅ"NDÃÅ"Z, UÄŸur (2012). Digital Music Format Mp3 as a New Communications Technology and the Future of the Music Industry. Scientific Journal of Humanistic Studies. Vol. 4 Issue 7, p202-207. Ian Ginsberg. (2010). Music Lessons Lessons Inform Photojournalism’s Future. â€Å"The record business died as the digital music business was born. Photojournalism finds itself at a similar juncture now.† Retrieved from http://www.nieman.harvard.edu/reports/article/102116/Music-Lessons-Inform-Photojournalisms-Future.aspx Schweizer, Kristen (2013). Music Industry Grows First Time in a Decade on Digital Adele. Retrieved from http://www.bloomberg.com/news/2013-02-26/digital-music-with-adele-helps-record-industry-return-to-growth.html Plà ¡cido Domingo (2012). Digital Music Report 2012. A digital world that rewards artists and creators. Retrieved from http://www.ifpi.org/content/library/DMR2012.pdf Plummer, Robert (2013). French Mourn Virgins â€Å"Funeral March.† Retrieved from http://www.bbc.com/news/business-20944909 Neilsen Soundscan (2011) The Nielsen Company & Billboard’s 2011 Music Industry Report. Retrieved from http://www.businesswire.com/news/home/20120105005547/en/Nielsen-Company-Billboard%E2%80%99s-2011-Music-Industry-Report#.Ux6BImTwLzQ Taintor, Callie (2004) Chronology: Technology and the Music Industry. â€Å"An examination of some of the technological milestones of recorded music.† Retrieved from http://www.pbs.org/wgbh/pages/frontline/shows/music/inside/cron.html Owsinski, Bobby (2014). 50 Cent’s The Latest To Exploit The Music Industry’s Newest Business Model. Retrieved from http://www.forbes.com/sites/bobbyowsinski/2014/03/04/50-cent-the-latest-to-exploit-the-music-industrys-newest-business-model/

Factors Influencing A Person s Political Views - 1340 Words

Self-Evaluation A lot of factor influences a person’s political views. A person is influenced by a lot of things that make them able to take the political stance at a point of life. As an individual, he walks through the pace of long life to understand the values and beliefs that he has been hearing since childhood. Sometimes it is really hard for one to decide what political party he wants to support, at that time he can take the suggestion from his family, friends, media and online quizzes. The process through which a person develops political beliefs and opinions that influence their behavior in social spheres is known as political socialization. It is the way in which a person gets his attitude and belief about politics. Political†¦show more content†¦Political ideology is a more or less consistent set of views as to the policies the government ought to pursue. People around the world, at some point, obtain a political ideology in their lifetime. American politics functions largely in the middle of the political spectrum as a contest between liberals and conservatives. Liberals believe the government has an important place both as a regulator in the public interest and to assist those with lower incomes. On the other hand, they still oppose government intervention in matters of personal autonomy. Conservatives feel there is too much government interference, particularly at the federal level, in the economy. This belief translates into calls for lower taxes, r educed spending on social programs, and deregulation. Perhaps because most Americans see themselves as moderates, politicians find it difficult to stay within the ideological boundaries of liberalism or conservatism. Many stress their credentials as fiscal conservatives while taking liberal positions on social issues. Others take a populist line, embracing active governmental intervention in both economic and cultural spheres. 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