Month: February 2016

Home Recording Studio – Free Tips and Essential Resources

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Building a home recording studio has never been more popular with the advance in recording studio equipment. Home Music Recording has found a solid blend of digital recording products and music recording knowledge to help you start your own home recording studio.

Easy Steps to Making Music On Your Home Computer

Any computer purchased in the last couple of years has the basic hardware for recording music. Computers with a hard drive smaller than 2Gb and a CPU slower then 100mhz is going to limit you to a few tracks at best. The faster and bigger your home computer, the more powerful your digital recording capabilities can be. Besides your computer, all you need is a microphone and some software, and you’re ready to create.

Multi-track recording software is fairly easy to use. You do not need a math degree to figure them out. Many programs are geared specifically for regular musicians, and most offer a minimum of 8-track digital home recording. Some programs come equipped with virtual drum features, full MIDI capabilities, and multi-effects.

Actually, home recording is as easy as loading your software into your computer, jacking your mic into the sound card, and playing. Soloists can record one rhythm track, then create another lead track while your previous track plays back into your professional headphones, then add vocals on a third track.You can continue adding as many tracks as your computer and software can handle.

Most software lets you add effects on all tracks. A word to the wise: even the fastest computers start slowing down with too many simultaneous effects in real time. Usually these ‘bogs’ will sound fine when you mix down, when the processor can handle more effects because it isn’t fixed to real time.

Computer noise can be a pain when recording. The best thing to do is to put your computer under your desk. Even better, buy extra long cables for all you peripherals and put your computer in the next room.

Of course you’ll want to pick up a few other cool things. Perhaps a better sound card, maybe a sound mixer desk, certainly a superior mic and preamp, and probably a MIDI keyboard. And then you’ll need to burn your own CDs.

Keeping Your Gear Current

Most people know that good home recording studio maintenance means cleaning and dusting rack modules, de-fragmenting hard drives, calibrating recorders and effects, and other details that help keep your gear in top operating condition.

When you’re performing your regular maintenance, don’t forget the software part of your setup. Thanks to the Internet, updates, drivers for A/D converters, plugins and upgrades for DAWs and soft synths, and the latest operating systems for computers and keyboards are just a click away. These updates generally offer feature enhancements, bug fixes, and/or expanded support for additional gear, plus they are tend to be free!

Whatever you do, have great fun building and operating your home recording studio!

Planning Your Own Home Recording Studio? Look no further. See Ken’s popular series Home Recording – The Essentials and get your free Resources Guide to Choosing Great Gear while you’re there.

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Son in the Tub
digital music recording
Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Son in the Tub

Photo By: MAJ Aaron Haney

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.
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Acoustic vs Digital Piano

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Which would be a better buy? An acoustic or a digital piano?

Before anything else, let me give you my definition of what a digital piano really is. Although some electronic musical instruments can also reproduce the sound of a piano (examples are music workstations, sound modules, sample-based synthesizers, software and hardware samplers), this article refers to a digital piano as an instrument that integrates a keyboard controller with a sample playback device that specializes in piano sounds. Digital pianos vary in shapes and sizes. Some (like the ones designed for home use) may resemble the look of an upright acoustic piano. But others may resemble the look of modern synthesizers or music workstations. These are called stages pianos. They are generally lighter since they don’t usually include internal loudspeakers and amplification.

Should you had been to ask me the above question 20 years ago (when our residence piano was still brand new and digital pianos sounded crappy), I could had answered acoustic piano. But right now, with the advent of modern and state-of-the-art sampling technologies I could have changed my mind. Particularly now that our property piano started to show some signs of wear, like broken strings, worn out keys, and detuning (my brother somehow got tired of continuously performing tuning jobs). Furthermore, the modern digital piano has grow to be increasingly more comparable to its acoustic counterpart both in sound and feel. Most of them utilize multi-sampled piano sounds. This means that samples are recorded from a real piano at unique levels of loudness, to ensure that in the event you lightly press a key in a digital piano, the soft recording is sounded. When you pound on the keys, the loud sample is utilized instead. This is needed due to the fact in a real piano, the timbre and not just the loudness changes with the pressure applied to the keys. Some newer models even have distinctive sets of samples for every key inside the piano. And still other people produce even the most intricate sounds of the piano’s internal machinery like a hint of a hammer striking the string, the delicate sound produce by the keys as you release them, and even the discrete sound of the damper pedal being depressed or released. All these combine to produce an amazingly realistic piano sound. Most models may well also likely to incorporate graded hammer action. This merely means that the keys progressively grow to be heavier as you go down the lower pitched keys – a lot like within the real acoustic piano – for additional expressive playing.

Some specialists may well argue that acoustic pianos sound much better than their digital counterpart. But for the untrained ear (and admit it, most of us are) the distinction isn’t at all noticeable, specially in recorded music. Some newer and far more high priced models of digital piano for instance Roland’s KR series even went to the extent of sampling string harmonics, and even consist of an actual soundboard to faithfully capture the vibrance of a real concert grand. With these recent developments, a question arises: What set these two types of pianos apart? This article tries to point out the benefits and downsides of utilizing every kind of model which might guide newbie piano buyers what model to pick.

DIGITAL PIANOS

Let me point out that the extreme digital piano features explained above may possibly only be present in newer and additional costly models. If you’re an amateur digital piano buyer and trying to find an entry level model (or a utilized 1), chances are, these may possibly fall short of the genuine article. Nevertheless, most digital pianos have particular benefits over the real 1. These contain the following:

* Digital pianos are normally less pricey. So if your on a spending budget, a digital piano could be the correct 1 for you. * They’re typically lighter and far more compact. If room space is your concern, then you may possibly decide on to have a digital piano. Also, if you’re a gigging musician, it’s simpler to transport a digital stage piano. It fits nicely at the backseat or even the trunk of most cars. * They don’t need tuning. As with most string instruments, an acoustic piano lacks the capacity to stay in tune. Tuning the piano your self is really a painstaking procedure and hiring somebody to do it means extra expense for you. On this aspect, a digital piano is really a greater option. * They might contain several extra instrument sounds. You’re not limited with only 1 piano sound. These may well contain unique types of piano sounds like modern pianos, electric pianos including Rhodes, also as organ, guitar, and string sounds. It may well also be feasible to layer two or extra sounds together to produce some fascinating effects. Some newer models even consist of hundreds far more sounds and act as music workstations. * They may perhaps incorporate a MIDI implementation. MIDI stands for Musical Instrument Digital Interface, a technology that was produced inside the 1980’s that offers different digital musical instruments and computers a standard method to communicate with every other. What this does is that it permits you to expand the capabilities of your digital piano by connecting it to external sound modules, sequencers, and computers. It also lets you playback standard MIDI files – readily available from several locations – on your piano making it act as a pianolla with out the bulky and ungainly roll of punched paper. * They may well offer a approach to record and store your performances. Most models of digital pianos have built in sequencers with a minimum of two tracks. To ensure that in case you have a sudden surge of inspiration, you’ll be able to instantly record your music and store it (on disk, smart media, or to your personal computer) and play it back at a later time. * They may possibly consist of a interactive learning assist feature. This is helpful for those beginning to discover the best way to play piano. Eliminating the require for a piano teacher. (Poor news for them.) If you’re a beginner, try asking your piano dealer what models have this feature. * They commonly contain headphone output. Should you suddenly feel a surge of inspiration within the middle of the night, you need to have not worry that you may well wake up other members of your household or even your neighbors. * They frequently have a transposition feature. Now this is what I like about digital musical instruments for the reason that I normally hated having to manually transpose a tune. With this feature, you could play a tune in a convenient key but truly heard in an additional. * They nearly constantly contain an audio output. This eliminates the use of microphones when recording your music plus the problems associated with them like feedbacks and noises. This significantly simplifies the recording procedure.

Some of the features may or may not be included in some models. Just ask your music dealer about them.

ACOUSTIC PIANOS

I can not say much about acoustic pianos. But this does not mean that I am bias about digital pianos. Acoustic pianos also have advantages over the digital piano. Foremost of them is the sound quality. Experts will definitely argue that the acoustic piano sounds infinitely better than its digital counterpart. The reason for this is that there are crucial physical and mathematical aspects of an acoustic piano that are difficult if not impossible to accurately duplicate in digital format.

An example is when the damper pedals are depressed, the keys which are not struck vibrate sympathetically when other keys are struck. This have the effect of having a fuller additional resonant sound in acoustic pianos. (Even though, as mentioned earlier in this article, progress is being made in digital music to emulate sympathetic vibrations and string harmonics.)

An additional aspect where acoustic pianos are greater than digital ones is its unlimited polyphony. Polyphony refers to the number of notes that will sound simultaneously. Digital pianos have limited polyphony which tend to grow to be a trouble when executing complex and thick passages specially if the damper pedals are depressed. (Digital piano polyphony ranges from 32 to 120 notes. But needless to say, progress is also being made to extend this limit.

Furthermore, acoustic pianos does not will need electric power to function. So you may still take pleasure in playing your instrument even when there’s no readily available electrical power. In our village within the Philippines where power outages usually happen, this aspect proved to be a excellent benefit.

Lastly, acoustic pianos typically last longer. (Even though some may possibly argue otherwise.) I once came across a hundred-year-old piano and it really is still playable. The reason is that even old and worn out pianos may be reconditioned by replacing several parts, and may well be made to sound as excellent as new pianos. Even though older pianos tend to sound warmer. I do not know if the exact same might be said about digital pianos. Technology progresses at a quick pace and this occasionally becomes a disadvantage. To accommodate the manufacture of newer chips, they may possibly stop making the older models. As an example, should you bought a synth 20 years ago, chances are it would be tough for you to locate spare parts now, or even a technician who knows the technology. You end up purchasing a newer model.

Looking to find the best Yamaha P95 Review, then visit www.YamahaP85Review.com to find the best Yamaha P85 Review to see if it is the right piano for your needs.

Def Jam Records Discography
digital music recording
Image by GDS Infographics
An look at the artist of Island Def Jam records, the make of the label with different artist, and the Billboard position of those artist.

Read the full article and watch a video with Christian Jorg of Island Def Jam – meettheboss.tv/articles/default.aspx?articleId=335

Many MIDI and music production softwares programs, like Cubase and ProTools exist. Learn about software for recording MIDI music in Cubase in this free digital music recording video.

Expert: Kini Knox
Bio: Kini Knox has been working with MIDI for eight years. He went to school for Audio Recording and Engineering.
Filmmaker: MAKE | MEDIA
Video Rating: / 5

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A Recording Studio On Your Laptop

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Did you ever need your own recording studio, but always thought that this was just not possible given your budget? Indeed, many of the additional accessories are simply too expensive for the average starving musician, for example microphones, tracking material, speakers, sound-proofing. Fortunately , with today’s computer technology, much of the extra heavyweight equipment has become for the most part outdated. With today’s technology it’s now far easier to have a recording studio at home-with sounds that frequently match some of the best studios-simply by turning on your laptop, plugging in a cheap microphone and headset, and turning on the guitar.

There are many reasons why having your own recording studio is really accessible today. Firstly, lots of the software out there is regularly free to download and try, which allows you the possibility to first test different programs before you buy one, which means you can try out different features until you find the right music production software to fit your own interests and style.

another great advantages of home recording on the laptop is definitely the incontrovertible fact that you can record multiple tracks and store it easily as a file, and thus when it comes to making your own music and distributing it, having a digital music recording is the best way to get your music out there for others to hear. If you simply want others to begin to know you, you could post your music on internet sites for others to download and listen to, and therefore become famous over night! Well, at least, that is the concept.

another excuse to look into computer software for recording is the fact that you also don’t need a top of the line PC to use it, since lots of the software today is really quite simple while still combining some very essential features for musicians. A lot of the software will even run on those old dinosaur models you keep in your basement ( and no, I don’t mean your commodore ).

With much of the software out there, there’s also the added feature of music instruction for those among you who are just starting to get into the art of doing music or just taking some extra time to enjoy what you hope to be a dependable hobby. Using music software is a great way to record your own music, to listen to yourself and rate your progress, and many programs come provided with different instrumental sounds and beats, from violins to flutes, violas to drums, there are thousands of options and differentiations for the interests of each individual musician.

In the final analysis, whether you are an experienced musician who is uninterested in paying enormous fees for less than adequate recording flats, or you are just starting to get into the groove, you may want to think about exploring the cheap solution, and turn your computer into a recording studio. Whether for creating music from nothing or for refining your recordings with audio getting a handle on software, the way to go today is certainly digital. Doing so, you’ll realize that your laptop has a lot more character than you originally thought!

Find out how to produce music and beats with the top beat maker and learn how to make music beats in top quality.

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Eye of the Holder
digital music recording
Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Eye of the Holder

Photo By: SGT Pablo Piedra

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History
After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.
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Create The Best Music In Digital Recording

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Digital audio recording is a wonderful thing to understand and be able to teach your friends. Please do not even think about digital recording before you make sure that the music you are trying to record must be well composed and all the criteria has been met.

You will find that it would be incredibly helpful if you had a studio. If you do not please dont worry because it is possible to do it without it. Creating beautiful music is not simple. You need to make sure that your software is the kind that you need. It may be easier to create your music first then tweak it. The rhythm and tune of the song needs to be composed before you fix it.

The fact that the recording studios are not as easy to get, so you might need to think about the opening a home studio. That would allow you to record some of your lovable musical composition with a mixing music software. It gives you an easy way out of producing your music and hence can be extremely beneficial for you.

Learning about composing and producing music is as important as it get. Its very important that you know how to learn music and also to show and prove it in your music. This teaches you to handle your music in a excellent way and you would certainly appreciate the reward for a rewarding musical experience. Sometimes musical recording sessions can be terrible and annoying, but with proper training and composures you will be able to handle them all.

Lets start recording! Compose your music right now. The options available in the software are incredibly huge. Practice through them and learn to understand the features of the software. And get going to record your first session. Recording your composed music can be tricky but if you known how to record well, in a calm environment, you can record high quality music and with great effect. Try to record in a noise free room or studio. It will improve the results. Good luck!

Robert Taylor is a DJ mixing coach who guide young talents on how to use his mixing music software and mold them into professionals for the future. If you know nuts about music mixing but you want to learn it badly, Robert and his music mixing software will guide you down the road.

A Visit To Windmill Lane In Dublin
digital music recording
Image by infomatique
[Visit Photo Gallery]

Windmill Lane is covered in graffiti from fans who have paid pilgrimage from all over the world, many attracted by the studio’s historical connection with U2. Initially the graffiti was interesting but is now a terrible mess and the quality of the art is not as good as it was.

Windmill Lane Studios, also known as the "U2 studio", is a three-storey music recording studio located in Dublin, Ireland. It is located on Windmill Lane, a small street just south of City Quay and the River Liffey and a little north of Pearse Station. It was opened in 1978 by Brian Masterson who is a company director and head engineer. It was originally used to record traditional Irish music until U2 came along and began to record there. Prior to this, Irish rock bands such as Thin Lizzy or The Boomtown Rats carried out their recordings outside Ireland.

It is now boarded up, with the actual studios having moved elsewhere. Nevertheless, the studios are still a popular cult symbol and are regularly visited by tourists, particularly those originally from the United States.

Pulse Recording College recently took ownership of the studios. The college has previously sent students to work at Windmill Lane straight after graduation and these students have collaborated with 50 Cent, Bryan Adams, Moya Brennan, Donovan, Jon Bon Jovi and New Order.

The studio is no longer located on Windmill Lane, although it retains the name. Windmill Lane Studios has not been located on Windmill Lane for quite some time and the current facility was originally Ringsend Studios in Ringsend, Dublin 4. Plans to construct a six-storey office block on the old site led to criticism from local resident groups in early September 2008.

The studio remained empty from 2006 onwards, although reports circulated which linked Van Morrison with purchasing the studio for his own personal use that August. Morrison had previously recorded several albums there, including Back on Top, Magic Time and Pay the Devil. In January 2008, the studio was used to record "The Ballad of Ronnie Drew". In 2009, Pulse College took over Windmill Lane painstakingly renovating the studios which are internationally perceived as being at the heart of the Irish recording industry. The renowned multimedia college has now transformed the facilities with state-of-the-art equipment which encompasses not only 3 fully equipped recording studios, but also a creative hub for Digital Media Training in areas of Music Production, Film Production and Game Analysis and Design.

Find More Digital Music Recording Articles

The Top Seven Programs For Recording & Mixing Music

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Do you want to create your own computer based home music recording studio? If so then you’ll need a quality program for recording and mixing music. You will be using one of the following seven programs a lot so you will definitely want to make a wise decision and choose the software that best fits your computer, your audio interface, and your needs.

First of all I want to focus on those with Mac computers (and yes whether you have a Mac or a PC will play a huge part in your decision of which music recording software to buy.)

If you own a Mac and do not yet have an audio interface then a Digidesign Pro Tools set up is probably what you’ll opt for. You can get an audio interface of varying sizes (from as few as 2 inputs to many more) and prices. If you plan on just recording yourself then you’ll probably want to get a one of the fewer input systems (an MBox.) If you plan on recording a full band then of course you’ll want to get a high input (and higher price) option.

For the full-on “professional” version of ProTools you’ll spend about $ 15,000. If that’s in your price range and a truly professional studio is what you are interested in building, then this may be the right choice for you but it’s really not necessary for most. You can get a great sound without that big setup.

If you own an MOTU audio interface already then you may want to get MOTU’s Digital Performer which is Mac only software and of course works very well with their audio interfaces. You’ll likely have a very stable system if you choose this option.

If you do not yet own an audio interface you may wish to consider buying an MOTU audio interface and Digital Performer (they do not come together like with Pro Tools, you’ll have to buy Digital Performer separately.) This is alternative to buying the limited version of Pro Tools that comes with their cheaper audio interfaces.

Another option for Mac users is Apple’s Logic. It’s designed to work with Mac computers and is a very strong program for working with audio as well as for working with MIDI. You will need to either already have an audio interface or buy one to work with it.

How about for PC users? Well first of all, Digital Performer and Logic are off the table as they are Mac only programs. But what about Pro Tools? It does work with PCs but it does not yet work with Windows Vista. Also it generally works better with Macs. If you’re on a PC I’d recommend going in a different direction.

Just as with the Mac there are a couple of music production programs that are PC only. These include Cakewalk’s SONAR which is a great choice if you are into working with MIDI (it also does great with audio as well) and Sony’s Acid. Acid is for creating loop based music such as Rap/Hip-Hop and techno. It’s not really suited to other styles of music so you should only consider it if you are into creating loop based music.

There are also programs which work great on PC & Mac: Steinberg’s Nuendo and Cubase. Nuendo is Steinberg’s high end system and it currently costs $ 1800 in stores. It’s great for those who want to work with surround sound and those who work on music with video (it has a video component.) It’s a very high quality piece of software but you should make note that it isn’t particularly suited for working with MIDI, if you are big MIDI lover then you should probably get Cubase instead. Cubase is actually about three times less expensive than Nuendo, so that’s good news for you!

I believe each of these seven programs are available for free in demo form so that you can try them out without buying them. This is probably a good idea because each program has it’s own peculiar quirks and you’ll want to choose the program that “fits” you.

But please be aware that it’s normal for there to be a bit of a learning curve with software such as this. So don’t give up right away. You may even want to read the manual!

Johnny Moon recommends that you buy your music production software online. Shop for MOTU’s Digital Performer , Steinberg’s Nuendo , & Cakewalk’s SONAR online.

A Visit To Windmill Lane In Dublin
digital music recording
Image by infomatique
[Visit Photo Gallery]

Windmill Lane is covered in graffiti from fans who have paid pilgrimage from all over the world, many attracted by the studio’s historical connection with U2. Initially the graffiti was interesting but is now a terrible mess and the quality of the art is not as good as it was.

Windmill Lane Studios, also known as the "U2 studio", is a three-storey music recording studio located in Dublin, Ireland. It is located on Windmill Lane, a small street just south of City Quay and the River Liffey and a little north of Pearse Station. It was opened in 1978 by Brian Masterson who is a company director and head engineer. It was originally used to record traditional Irish music until U2 came along and began to record there. Prior to this, Irish rock bands such as Thin Lizzy or The Boomtown Rats carried out their recordings outside Ireland.

It is now boarded up, with the actual studios having moved elsewhere. Nevertheless, the studios are still a popular cult symbol and are regularly visited by tourists, particularly those originally from the United States.

Pulse Recording College recently took ownership of the studios. The college has previously sent students to work at Windmill Lane straight after graduation and these students have collaborated with 50 Cent, Bryan Adams, Moya Brennan, Donovan, Jon Bon Jovi and New Order.

The studio is no longer located on Windmill Lane, although it retains the name. Windmill Lane Studios has not been located on Windmill Lane for quite some time and the current facility was originally Ringsend Studios in Ringsend, Dublin 4. Plans to construct a six-storey office block on the old site led to criticism from local resident groups in early September 2008.

The studio remained empty from 2006 onwards, although reports circulated which linked Van Morrison with purchasing the studio for his own personal use that August. Morrison had previously recorded several albums there, including Back on Top, Magic Time and Pay the Devil. In January 2008, the studio was used to record "The Ballad of Ronnie Drew". In 2009, Pulse College took over Windmill Lane painstakingly renovating the studios which are internationally perceived as being at the heart of the Irish recording industry. The renowned multimedia college has now transformed the facilities with state-of-the-art equipment which encompasses not only 3 fully equipped recording studios, but also a creative hub for Digital Media Training in areas of Music Production, Film Production and Game Analysis and Design.

Find More Digital Music Recording Articles

Home Recording Equipment And Signal Flow

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Signal flow is key for anyone who wants to start a home music studio. When inspiration hits and you get your ideas through all the phases of your recording understanding signal flow is important. Understanding signal flow and how all your equipment are tied together will put you in great control over your home music studio. This also applies to troubleshooting in your home music studio making it easy to improve your studios efficiency and making it easier to record when inspiration hits.

Using a simple set up with a computer, audio interface, speakers and microphone I can show you how to understand a home music studio signal flow. the truth is it is about inputs an outputs, that simple. Knowing how inputs and outputs work together in your recording chain will give you the freedom to add and multiply equipment in your home music studio and keep you in control of the creative process

Music starts with an idea, that idea comes OUT in the form of analogue sound waves and IN a microphone, tiny electrons then move along the microphone cable OUT the end of the cable and IN the audio interface. So in this case you will take a microphone and connect the cable to the input of an audio interface or even microphone preamp. Now that the signal has made it IN the audio interface they need to come OUT your speakers, now your speakers will be connected to the output of the audio interface. Remember that most home recording equipment have both inputs and outputs and an audio interface is a good example because an audio interface has inputs for recording and outputs for playback.

The first thing an audio interface does is convert analogue sound waves into a digital format so computers can understand. The second function of an audio interface is to again flip the digital audio into analogue so that speakers can playback audio from your computer. The reason why I say to go the audio interface route is because of the sample rates they use to convert analogue to digital and digital to analogue. This sample rate makes a big difference for quality recordings.

So in this case there is an output on an audio interface for the speakers to connect too as well as either USB or firewire that serves as an input connection to the computer, so signal can reach your home recording software.

I realize this is a very simplistic example but if you learn to move around your studio thinking about the IN and OUT concept you can add to your home music studio, set up and experiment connecting the inputs and outputs of all types of gear together and putting you in control

Looking to buy the best Home Recording Equipment? Get the low down instantly with our complete Home Music Studio guide.

WORLD MUSIC: Deep House Music / Neo Soul/ R&B/ New Jack Swing Vocalist: Bryan O’Quinn
digital music recording
Image by ImagePros
Genre WORLD MUSIC: Deep House Music / Neo Soul/ R&B/ New Jack Swing Vocalist: Bryan O’Quinn
Record Label: BSM Entertainment
About Official Bryan O’Quinn Facebook Page
www.facebook.com/pages/Bryan-OQuinn/102927984785?sk=info
Description as Mentioned in the Associated Press: Bryan O’Quinn was one of the few underground dance music artists to enjoy negligible mainstream exposure during the late ’80s and early ’90s heyday of hip-hop soul. His smooth crooning voice has been described as two parts honey one part lemon.
Biography Singer songwriter Bryan O’Quinn has described his own original musical productions as smooth sophisticated dance music with an edge, “It’s the kind of music where you have to get down but you don’t have to get dirty” Mr. O’Quinn explains “It is a labor of love and I want it to be good for my wonderful supporters and well-wishers who believe in me”.

For his new album he has drawn inspiration from …his own songs that have held special moments and professional milestones through the years, and he has dedicated the album to: love, inspiration and dance. Profile of a Don, to be released by BSM Entertainment in cd and digital album packages, presents previously released, unreleased and brand new songs personally selected for the album by Bryan. Although P.O.A.D is now scheduled for a 2013 released date as promised several new singles and remixes will began circulating and become available for download

www.youtube.com/watch?v=unWFQygEsJA

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Home Music Recording: How Do You Go About It?

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If you’re even remotely interested in music, I’m sure home music recording touched your mind at one point. It can be a simple process. Whatever your genre, you can try music recording at home. But, if your home studio isn’t set up properly, it can be difficult, expensive and stressful.

Your studio has to be complete with equipment that will make your sound seem more professional. There are many websites online that can be really helpful in informing you on what sort of equipment you need for your studio.

If you’re just trying this, there are a lot of ways to create a home music recording studio.

Firstly you can use a simple, multi-track recorder that stands alone. This recorder should be able to allow you to mix music. Then you need a way to store the data in a CD or a flash card.

The music must be accessible for you even if it’s stored. This route is perfect for live music.

Second, you must record directly into your digital processor. You can transform any computer into a recording tool by installing a simple recording software. This is an option you can take if you want to combine original music with downloaded ones.

Your skills and budget will play a big role in deciding which method is best for your home music recording. Every decision you make in home music recording depends on your style.

You will reach a point where you will feel the need to upgrade your home music recording studio. You can add more implements to enhance your sound. Are your neighbors complaining because your set up isn’t sound proof? What are your music creation habits? You will also need to think about recording studio furniture, microphones, music computers, sound cards, audio interfaces, mixers and mixing procedures and monitors. So take it slow when you are starting out, there are some great affordable options out there for first timers in the home music recording world.

Hugo is a consultant specialized in music production software. Take a visit to his site to read reviews and catch useful hints at: Best Music Production Software, Make music online, DUB turbo Review

“Joy all around, and have a wonderful Christmas, my friends” by mimitalks, married w/children
digital music recording
Image by mimitalks, married, under grace
(Please wait it out – there are 2 song selections)
This was played by my husband’s cousin and recorded by me on my cell phone for use in my projects.

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The Democratization of the Music Industry

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The current music market is changing in terms of recorded content; entry into the digital age has given access to the common user to generate high quality recordings at home that would otherwise have been impossible to produce during the pre-digital era. If we were to compare and contrast the differences between the commercial music world and the independent music world, ultimately the research would support the advent of a new resurgence that is being dubbed as a time stamped event known as the “democratization of the recording studio”.

Since there is no statistical data available to directly measure how much content has been produced as a result of the democratization of the recording studio, a valuable reference comes from Zack Greenburg’s article in Forbes titled; “The World’s Highest-Paid Musicians 2012”. Interestingly enough Dr. Dre is ranked #1 with $ 110 million in pretax earnings. Ironically Dr. Dre hasn’t recorded or released an album in a decade. Dre’s revenue was amassed by live performances and his new headphone line called ‘Beats’. Some of the top money makers on the list include: Roger Waters $ 88 million, U2 $ 78 million, and British Boy Band; Take That ($ 69 million). Approximately 2 out of the top 25 money makers were post digital age musicians (Taylor Swift, Justin Beiber). Almost all the artists generated their revenue outside of record sales. An inference can be made through Greenburg’s article on a disparity of the recorded digital sales market due to the alternate revenue streams that have been adopted by the industry.

The current state of the market could be viewed as a growing pain in the innovation cycle with the introduction of the first peer to peer (Napster) more than a decade ago. Legal restructuring in terms of asset management and licensing to subscription services like Spotify has left the industry and its artists with more litigation than streamline economics. One could assume this is the result from the shift from tangible (CD) to intangible (ownership free) music that is rented through user subscription. A key word that makes all the difference in terms of the business model, but this key phrase; “ownership-free” is the cornerstone of the economic discrepancies that lurk within the industry.

Los Angeles Times Nathan Olivarez-Giles reports:

Although nobody officially tracks the number of recording studios, the consensus among industry experts is that the big commercial facilities have taken a major hit. They estimate that as many as half of the L.A. area’s commercial studios have closed or been sold to artists for private use.

The International Federation of the Phonographic Industry (IFPI) is an organization that represents the recording industry worldwide. Currently the IFPI has approximately 1400 members in 66 countries. The mission of the IFPI is as follows:

To promote the value of recorded music, safeguard the rights of record producers and expand the commercial uses of recorded music and its services to members including; legal policy advice (lobbying), anti-piracy enforcement, litigation and regulatory affairs, market research and communications support.

The IFPI issues various reports every year reporting various statistics that pertain to record sales, listening behavior, music downloading and various other trends concerning commercially recorded music. Data is represented in various charts and studies alluding to the present economic state of the global music market. A relevant IFPI generated report depicts a data graph that measures recorded music shipments in correlation to musician employment from the dates between 1999-2009; the findings support the theory of a possible contraction in the music market, other compelling data shows that the global value of recorded music is down -31% (IFPI, 2011).

Unfortunately, there doesn’t seem to be any hard data available that concretely illustrates the number of home recordists; this is due in part for reasons of classification. One can’t discredit the avid pro who is prevalent in the music scene and who quite often is involved with independent projects on top of being up to date with the latest and greatest plugins available. Similarly, one can’t discredit the novice who by mere happenstance is inspired to create an audio recording through a user friendly interface such as Garageband. Recordists, pro and novice could realistically be working with the same quality standard and thus a distinction of quality wouldn’t separate them and so categorization of the two is nearly impossible and thus trying to decipher how many people record at home would be like trying to figure out how many people draw pictures.

The technology has successfully integrated itself into mass technological consumption, turning the question into “how many people do not have audio recording capabilities in their home?” Now, anyone can always make inferences based on supporting data. Soundcloud is touted as being the leading archiving service for independent music makers. Based on their user base, there are 40 million independent music makers globally. This number is a stark contrast in comparison to its commercial counterpart of roughly about 35,000. These figures illustrate a huge propensity for those taking advantage of home recording. Aside from the lob-sided numbers pertaining to the independents and the commercial music maker, independents generated an exorbitant amount of musical content within the last several years.

According to Cd Baby, independent music makers released a total of 61,339 albums and 29,477 singles in 2011 alone. What does this mean in a declining music market? The long tail as an explanation serves well. Despite the mass amount of listening options that have become available one can only deduce that the masses will always want to belong to a mass. It’s fair to assume based on history, popularity among the most popular will still inevitably drive the market no matter how many options are available. An enlarged pool of music makers can only further individualize the one discovering the music and hence making it increasingly difficult for an independent music maker to gain critical mass in an ever-growing sea of independent music makers. So, if the exclusivity of recording music has now been successfully democratized, then other platforms that can’t be assimilated will start to grow.

With digital audio recording content being devolved from a paid model to a rented model to an inherently free model than one can only assume that the “audio recording” has now merely become the “print” of the singular painting. However independent music makers have power in numbers and have made strides to rekindle the value of tangible music in the form of vinyl. The Washington Post reported that vinyl record sales sored up to 52% from 2011 to 2012. The vinyl medium has made its most prominent resurgence since 1997 totaling up to $ 171 million by years end in 2012.

Independent labels and musicians have made a concerted effort to embrace the mediums tangibility and foster an independent music culture that embraces and utilizes the medium as a source for collection as well as music creation. The revival of the vinyl medium also asserts the point that independent labels and musicians are pinned on maintaining the value of recorded media, even if it carries playback artifacts. The intangibility of the digital domain boasts a wonderful freedom in terms of creation but on the flip side carries a transparent, unmanageable amoeba effect that can devalue the content.

In the end, it is a balance; choices for proper and protected music distribution are available and should be utilized and promoted towards independent music makers. ITunes is ahead of the game covering a little more than 77% of all digital distribution revenue. The Apple music platform allows for free sample listening but manages to keep a strong hold on piracy. However iTunes makes it challenging for the novice music maker to market their content and reap the protective rewards. ITunes demands certain requirements be met in order for artists to distribute musical content, as shown here:

Content Requirements:

At least 20 albums in your catalog

UPCs/EANs/JANs for all products you intend to distribute

ISRCs for all tracks you intend to distribute

Financial Requirements:

A U.S. Tax ID

A valid iTunes Store account, with a credit card on file

Apple does not pay partners until they meet payment requirements and earning thresholds in each territory. You should consider this before applying to work directly with Apple as you may receive payments faster by working with an Apple-approved aggregator.

It’s fair to assume that a large majority of indie music makers as well as commercial music makers do not boast a 20 album catalog. So why is the requirement enforced? Why are top selling artists who are shy of the 20 album mark being promoted on the iTunes platform? The answer is again because of record label plight and selling power. So why does Apple even have the requirement to begin with if it then becomes irrelevant based on popularity? I believe the answer is that payment will be due either way, whether you’re a famous artist whose label handles distribution or whether you’re an independent who is willing to pay for a middle man like Cd Baby who can get you in the door to the iTunes platform. Either way money needs to be paid in order to formalize content.

What is important today is that the independent music maker can be just that, independent. Record labels still have a very prevalent function in mainstream music on a mass scale but their services can now be outsourced by the independent, which is a huge triumph for freedom of expression in its own right. What is the independent digital music distribution market like? Cd baby has reportedly paid out close to $ 300 million since its inception in 1998 to artists who have used the platform as an aggregator. Also to reiterate, according to the National Association of Music Merchandizers, computer recording software sales jumped 300% from 1998 to 2007. This figure illustrates a parallel effect between the usability of home recording and the ever-growing revenue that has been generated as a result of that usability.

Though the democratization of the recording studio has established its footprint, it seems as though that a distinction between commercial music and independently generated music will always exist. Though the line between the two has gotten thinner, the spotlight will always shine predominantly on the leader just as the long tail continues to get longer and longer, while offering more opportunities for autonomy. There will still always be the mainstream aggregators who confidently reside at the beginning of the long tail.

I believe this is in part due to the community’s want or need to evangelize around a shared experience. It’s not to say that other content isn’t just as good but to say that the mainstream content was more accessible, in turn more apt to being the topic of conversation or in this case the topic of relation. What is miraculous is the freedom that has been attained in the realm of home music production and the $ 450 million dollar consumer market that has ensued as a result. The reality that one can create a professional body of work and single handedly and conveniently market, distribute and sell that work is the real milestone for the independent music maker and this is so because of access to axillary distribution channels. I would say that the future looks bright for the creative independent. The computer as well as the internet has congealed a mass multitude of professional and novice producers all with many common goals but one common more than most; the desire to be heard.

Patrick Goncalves is a recognized, entrepreneurial, artistically driven, interdisciplinary communications specialist. He provides commentary on the adaptive response in business and culture as a result of the digital age. http://www.patrickrossgoncalves.com/

A Visit To Windmill Lane In Dublin
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Windmill Lane is covered in graffiti from fans who have paid pilgrimage from all over the world, many attracted by the studio’s historical connection with U2. Initially the graffiti was interesting but is now a terrible mess and the quality of the art is not as good as it was.

Windmill Lane Studios, also known as the "U2 studio", is a three-storey music recording studio located in Dublin, Ireland. It is located on Windmill Lane, a small street just south of City Quay and the River Liffey and a little north of Pearse Station. It was opened in 1978 by Brian Masterson who is a company director and head engineer. It was originally used to record traditional Irish music until U2 came along and began to record there. Prior to this, Irish rock bands such as Thin Lizzy or The Boomtown Rats carried out their recordings outside Ireland.

It is now boarded up, with the actual studios having moved elsewhere. Nevertheless, the studios are still a popular cult symbol and are regularly visited by tourists, particularly those originally from the United States.

Pulse Recording College recently took ownership of the studios. The college has previously sent students to work at Windmill Lane straight after graduation and these students have collaborated with 50 Cent, Bryan Adams, Moya Brennan, Donovan, Jon Bon Jovi and New Order.

The studio is no longer located on Windmill Lane, although it retains the name. Windmill Lane Studios has not been located on Windmill Lane for quite some time and the current facility was originally Ringsend Studios in Ringsend, Dublin 4. Plans to construct a six-storey office block on the old site led to criticism from local resident groups in early September 2008.

The studio remained empty from 2006 onwards, although reports circulated which linked Van Morrison with purchasing the studio for his own personal use that August. Morrison had previously recorded several albums there, including Back on Top, Magic Time and Pay the Devil. In January 2008, the studio was used to record "The Ballad of Ronnie Drew". In 2009, Pulse College took over Windmill Lane painstakingly renovating the studios which are internationally perceived as being at the heart of the Irish recording industry. The renowned multimedia college has now transformed the facilities with state-of-the-art equipment which encompasses not only 3 fully equipped recording studios, but also a creative hub for Digital Media Training in areas of Music Production, Film Production and Game Analysis and Design.

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Digital Music Piracy A Case Study For Law Enforcerment Careers

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Amidst all the huge media press devoted to the subject of the recording industry’s difficulty in protecting their interest in the new digital age, one might wonder – who are these people who download music? What is their motivation? Presented here, a case study. This is a composite study which blends together the reported experiences of many music downloaders – the study is true to a large part of this set, but not accurate to any specific case, with names removed:

What follows is a short history of my economic experience of music and a simple business plan proposed for the labels to recapture my wallet.

Back in the old days, when I bought my first CD player, I went out and replicated my sizable vinyl record collection at $ 12-$ 13 per album. This took all of my spare cash as a struggling student with no loans. Over the course of a year, I bought more than eighty CDs. It was hard, but I hated records and tapes because they wouldn’t be portable. Back then, the local rumors had it that the price of CDs was inflated to cover the cost of manufacturing in the new media format and would eventually come down below record prices because they were considerably cheaper to make.

Five years later, the prices didn’t go down and I had the misfortune of my CD collection, then at over 200 albums, having been stolen from my ghetto apartment. That was more than $ 2500 and I was still pretty poor due to the early 90s recession affecting my industry. The upside was that stolen CDs were so valuable then because there was a budding used CD market in the major cities. Once record stores started selling used CDs in quantity, I stopped buying any new CDs altogether. This is the early 90’s and I already dropped out of the record label’s direct market. Here I was, an early 20’s kid that was so in love with music that I would spend the better part of my expendable cash on CDs and yet I dropped right off of their books because I could buy an album for $ 9 if I waited a month after it came out.

As I matured in my career, I started making serious money, but I still wouldn’t buy new CDs. I was used to paying between $ 6 and $ 9 and there was no way I would go back. I probably missed out on a lot of music, because I was limiting my selection to what college kids would buy and return.

Then came CD burner technology. I spent many hours burning all of my friends’ CD collections. Shortly thereafter came the MP3 file format. These services made it easy to download music for free or a nominal service charge, and was not at the tie seen as illegal, so suddenly my music collection no longer involves CDs at all anymore.

So where does this leave me now? Well, I’m in my late 30s, making a six-figure income, and I like a huge variety of musical genres. I could easily spend $ 100 per month on music and not bat an eye, but I still don’t. The record labels have alienated me by suddenly treating me as a criminal for the cost of doing business with them. So, what can they do for me that would convince me to give them my money again? It’s really quite simple!

A reasonable service at a reasonable price, like the Russian sites do. I select the quality and quantity of the songs and pay a reasonable price for downloading them. The bottom line here is that I’ll pay up to $ 4 for a CD encoded at 256k VBR with no obnoxious DRM interferences – no less quality and no more money.

Give me FTP access to a full catalog with all of the labels in one place. They should be high quality MP3s, verified, DRM-free, properly tagged, and in a format that guarantees I can port them. How much would I be willing to pay for this, well for a ballpark number figure $ 2 to $ 4 for 10 songs. That works out to 20 to 40 cents per song. You could also bill based on bandwidth per megabyte downloaded.

I promise that this would keep me, and most music listeners, from downloading music “illegally”. I might give some of this to my friends for free, but that is usually stuff that they wouldn’t have bought anyway. Burning a CD of songs for my friends is fair use to me, as it always has been to the public at large. RIAA, I haven’t given you money in over 10 years; that is a huge failure on your part.

Win me back. It’s not that hard and it’s not too late. I am the consumer and you are supposed to be serving me. Make me a happy to do business with you, and I’ll open up my wallet for you; but treat me like your enemy, and I will be a wolf poaching your chickens with impunity. The choice is yours to make.

Freelance writer for over eleven years.

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Digital Love – Daft Punk
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