Features:

• Native DSD audio editing and playback, at sampling rates from 2.8MHz to 11.2MHz
• WAV file editing and playback support up to 384kHz/32-bit
• Uses standard ASIO 2.1 audio drivers
• Set in and out points with waveform audio display for trim/export
• Set overall gain of file (PCM files only)
• Split long files into multiple tracks
• Combine function joins two audio files into one
• Convert audio files from DSD to PCM or vice-versa
• Convert PCM sampling frequency and bit depth
• Runs on Windows (using Windows Standard audio driver or ASIO 2.1)

http://tascam.com/product/hi-res_editor/images/

• Lavaliere
• A lowboy stand out of the shot with the mike pointed upward
• A three-axis gimbal with a short boom on top
• A stand off to one side with the mike pointed sideways and up

Pointing the mike down seems unfeasible because it requires a stand too big for one person to transport and handle. The lavaliere suggestion is workable in a quiet environment, but if there is a lot of noise, it won't work because the mike is omni-directional. Even in a quiet environment, the lav's sound is not as realistic as that of a hypercardioid's or shotgun's. I have not included a camera-mounted mike, because the sound is poor unless the talent is up close. Any other solutions?

MOXF compatibility with the Voices and Library of the MOTIF XF, MOTIF XS and the MOX Series data ensures the immediate availability of a large collection of sound and sample libraries and optional software.

The 88-key Graded Hammer Standard MOXF8 and 61-key semi-weighted action MOXF6 come with 741 MB Wave ROM, 3,977 waveforms and 128-note polyphony, with up to 1 GB of Flash board sample expansion. In addition to a 16-track Song and Pattern Sequencer with real time loop remix, MOXF Series synths come with built-in, four channel USB audio/MIDI interfacing and extensive DAW/VST controls.

Both keyboards satisfy the needs of live performers and producers. Performance Mode enhances creativity by allowing players to combine multiple voices together and play them on one MIDI channel and with the interactive Arp engine, playing simple chords or even single notes provides complete musical performances to inspire creativity. The MOXF also features 256 preset performances in a wide variety of music styles. For music production, a built-in sequencer lets musicians produce high-quality tracks recorded in real-time without the need to plug into a computer or other external devices.

The keyboards come with incredible presets, from pristine grand pianos to vintage keyboards, enhanced by advanced Virtual Circuit Modeling effects, which provide the textures of vintage analog compressors, EQ and stomp-boxes, down to their component transistors and resistors.

For producers who prefer to use the latest DAW and VST technology, the MOXF serves as the center of a professional-grade music production studio. Bundled software includes the MOXF Editor for detailed editing of Voice and mixing parameters, MOXF Remote Editor for controlling VST templates and Remote Tools, which simplifies integration with Cubase.

Audio and MIDI hook ups require a single cable for recording to a variety of DAW options and a special remote mode and AI knob makes it easier than ever to control recording functions automatically. And, the MOXF keyboards come with Steinberg Prologue VST, a rich-sounding virtual analog synthesizer with a wide variety of textures that includes sounds ranging from lush, detailed pads to bright, acerbic leads.

Available at:

• http://www.kraftmusic.com/yamaha-moxf6-music-production-synthesizer-bonus-pak.html
• http://www.kraftmusic.com/yamaha-moxf8-music-production-synthesizer-bonus-pak.html

I have many recorded songs that I would love for people to use. In addition, I am not opposed to writing and recording music specifically about a topic someone would request or specifically to suit a certain artistic feel. Most likely most people will simply post music here that people can apply to their movies as they see fit.

I would suggest that anyone who uses songs posted here should give credit to the artist, and that if the motion picture that uses these songs should happen to blow up and make a bunch of money, then there should be some reasonable expectation that a deal should be worked out between musician and movie maker.

I am also not clear as to what the best storage method should be for songs. Nearly all the songs I have recorded are in .wav format and would require a fair amount of space to store. It would also be nice to find a place to store .mp3's of the tracks so that people can listen to them and decide if they want to use the .wav.

Also, this topic can be used as a place to discuss best audio formats for motion picture. I almost feel like this should be a category because there are many sub topics I could see branch off.

Note 1. Bandcamp provides a HTML code that supposedly creates a player. The player does not seem to function on this site. Bandcamp does allow for high quality .wav storage and download, and allows you to set it up so that people can download for free, or name what they want to pay which includes 0.

http://apps.microsoft.com/webpdp/app/ce714f58-1113-4c30-a9a3-f14a0fb5d7ed

Key Features:

• Fully redesigned audio engine and 64-bit architecture
• New Avid Audio Engine – Delivers multiple times the processing power of Pro Tools 10 on the same hardware configurations.
• 64-bit architecture – Exponentially increases the number of simultaneous virtual instruments and the performance to handle the most sophisticated sessions.
• Offline bounce – Delivers mixes up to 150 times faster than real time.
• Low-latency input buffer – Ensures ultra-low latency record monitoring without sacrificing plug-in performance.
• Dynamic host processing – Maximizes plug-in count by reallocating processing resources as needed.
• Expanded metering
• Extended standards support – Features a broad range of built-in metering standards, from peak and average to VU and PPM, to maintain adherence to regional broadcast requirements.
• Gain reduction – Shows gain reduction for all dynamics plug-ins on each channel.
• Direct HD video workflows
• Built-in Avid Video Engine – Enables audio post professionals to play and edit a wide range of HD video formats includingAvid DNxHD, directly in the Pro Tools timeline without transcoding, using the same core engine as in Media Composer.
• Video interface support – Enables monitoring of DNxHD and QuickTime media through Avid Nitris DX, Avid Mojo DX, and other video interfaces.

Availability & Pricing

• Pro Tools 11 and Pro Tools HD 11 is expected to be available later in Q2 2013.
• Pro Tools 11 software (full version) – $699 USD
• Pro Tools 10 to 11 upgrade – $299 USD
• Pro Tools 9 to 11 upgrade – $399 USD
• Pro Tools Express to Pro Tools 11 cross grade – $499 USD
• Pro Tools HD 10 to 11 upgrade – $599 USD
• Pro Tools HD 9 to 11 upgrade – $999 USD

can anyone suggest best audio option to record a 30 minute discussion amongst 4 people?

Kit we own: 2 x sets of wireless lav mics 1 x tuner and hand held wireless mic 1 x zoom h4n

The shoot: one locked off wide shot - journalist on one chair and 3 x people on sofa - arranged in L shape one roving camera for head/shoulders of person talking I've attached a still of the previous wide shot

We have budget for any necessary kit for the shoot we don't want anyone holding the hand held mic

really appreciate any suggestions

Thanks

Luke

Specs:

• Smooth-feel, semi-weighted keybed with aftertouch.
• 16 velocity-sensitive pads with LED feedback .
• Touch pad for X/Y axis control .
• USB Bus powered for portability and ease of use.
• 5 Pin MIDI Input, and Output jacks allowing you to control your favorite synths.
• Assignable pitch & mod wheels, knobs, faders, buttons (with macro ASCII support), and transport control with Mackie Control and HUI modes.
• Split keyboard with four assignable zones.
• Expression and Sustain pedal inputs.
• 6 digit LED display.
• Includes Ableton Live Lite, AIR Music Technology Loom and Hybrid 3.

http://www.m-audio.com/

http://www.vocaloid.com/us/

http://apps.avid.com/protoolsfirst/

PR

Avid® (Nasdaq: AVID) today unveiled Pro Tools® | First, a free version of the industry-standard Pro Tools that offers many of the same music creation capabilities used by top artists and recording studios worldwide. Delivering on Avid Everywhere™ and built upon the Avid MediaCentral Platform, Pro Tools | First is simple enough for beginners to learn, yet sophisticated enough for the experienced musician. Pro Tools | First enables anyone to experience the industry’s most trusted digital audio workstation at no cost, so they can turn their musical ideas into fully realized, professional productions that stand out from the crowd.

“Pro Tools is the audio workstation that redefined the music and post-production industries, providing everything needed to create high-caliber audio mixes,” said Chris Gahagan, senior vice president of Products and Technology at Avid. “With Pro Tools | First, we’ve taken the most powerful, proven, and trusted DAW and streamlined it into a version that’s available to everyone for free, whether they dream of a career in music and are just starting out, or are more experienced and want to give Pro Tools a try. Now users of all levels can start off their musical journey on the right path.”

With Pro Tools | First, artists can quickly turn ideas into professional-sounding songs by recording, using software instruments, and applying audio effects. To expand their creative toolset further, the integrated Avid App Store provides a world of affordable AAX plug-ins and “First” bundles on the Avid Marketplace that make creating, shaping, and enhancing sounds quick and easy.

To accommodate the mobile lifestyle of artists and aspiring pros, Pro Tools | First saves and manages sessions securely in the cloud, enabled by the Avid MediaCentral Platform. This allows users to log into an Avid account and access and work on music from any Mac or PC with Pro Tools | First installed. Anytime changes are made, the project syncs with the cloud as soon as it’s saved. As a special introductory offer, artists can work on and store up to three Pro Tools | First projects in the cloud for free.

In addition, Pro Tools | First will be compatible with Avid Cloud Collaboration when it becomes available, helping artists collaborate together from wherever they are in the world.

Availability

Avid Pro Tools | First will be available in Q1 2015 as a free download through Avid.com. For more information, please visit avid.com/protoolsfirst.

• Keyboards for advanced virtual instrument performance
• Integrated 4.3-inch high-resolution full-color screen with dedicated interface buttons
• Screen provides 1:1, real-time feedback of plugin parameters
• Available in 25-, 49-, and 61- key sizes
• Includes Virtual Instrument Player software for unprecedented virtual instrument preset management, control mapping and multi patch creation
• Premium, semi-weighted velocity-sensitive keybed with aftertouch
• 8 large, endless and continuously variable control knobs
• 8 velocity- and pressure-sensitive MPC pads with RGB illumination
• Dedicated pad bank, transport control, octave, and performance buttons
• Note repeat, time-division, pattern arpeggiator, and tap-tempo buttons
• Rubberized Pitch and Modulation wheels
• Expression pedal and footswitch inputs
• USB and 5-pin MIDI Input/Output for use with any MIDI capable software or hardware
• Functions as a standalone controller
• Includes a 16GB download with more than 10,000 sounds from leading virtual instruments from AIR Music Technology and SONiVOX
• $399.99, $499.99 and $599.99 prices

http://akaipro.com/advance

My name's Per Lichtman. Most of you know me as @thepalalias, the creator of the audio settings used in the majority of settings available for PTool in recent years. I think PV is a great resource and joined in 2011. I also compose , produce and engineer music professionally, have my B.A. in Music Theory/Composition, have consulted for several music tech companies and am editor/contributor at http://www.soundbytesmag.net and before that at Wusik Sound Magazine (WSM).

There are users in the forum that have worked in music longer than I have and have great things they can contribute to the discussion so hopefully they'll chime in, too. Either way, we're about to help you get your feet with making music.

Part 1: An Introduction to MIDI and to MIDI Keyboards

What is MIDI?

Before we get to the really fun stuff, there's a few terms to get out of the way - and the big one is MIDI. For the past few decades, writing music on a computer has most often involved MIDI. The name MIDI is an acronym: Musical Instrument Digital Interface. During the 80s the standard was created to make sure that products from different manufacturers could communicate with each other. A MIDI signal does not carry a sound (unlike a headphone cable, for instance) but instead carries musical information - for instance, what pitches to play, how long to hold them and how loud they should be.

The thing I use MIDI for the most is to record the notes I play on keyboard into a program called a DAW. You may already have a DAW like Garageband, Reaper, Sonar, Cubase, Logic, Studio One or ProTools, but we'll cover those in a another post. The important thing about a DAW for the way we use MIDI is that it both lets you edit what you record - so that you can change notes, move them around or delete them, etc. Another important thing is that a DAW can use plug-ins to turn those notes into sounds and audio recordings. In fact you can do it all on your computer with just a mouse and computer keyboard if you want - but a lot of people (myself included) prefer to be able to play the notes in on a MIDI keyboard at least some of the time. So since you want to use the MIDI keyboard to "control" your DAW, all you really need is a MIDI "controller keyboard."

What is a MIDI Controller Keyboard?

All a MIDI controller keyboard has to do is send MIDI to another device (in our case, a computer). They do not necessarily have to be able to make sound on their own, though many do (like my old Yamaha P-60 "digital piano"). Since (generally speaking) a computer is more flexible in regards to adding new sounds than a keyboard is, I do not recommend spending more on a keyboard to get more sounds. That's for people that want to use their keyboard on stage and we'll talk more about it later. Just don't let a salesman convince you that you need an expensive keyboard with lots of sound to get realistic sounds on your computer. If you have a keyboard already, start by using that - the more you know before you spend money, the better you'll know what you actually need.

*Different Types of Keyboard Feel

MIDI controller keyboards are typically made to look like either pianos or organs, which are two instruments that feel entirely different to use. Many organs use what's called an unweighted keyboard, where the keys give virtually no resistance to your finger and our very easy to press down and play quickly. Acoustic pianos vary greatly in their feel but consistently use what's called a "weighted action" where there is a significant resistance against your fingers because the keys are actually moving hammers that strike strings - and those hammers weigh something. MIDI keyboards come with both weighted and unweighted feels, as well as a common compromise between the two called semiweighted. Finding out which of the three keyboard types is right for you is the first step in picking a keyboard.

The Pros and Cons of Different Keyboard Feels

Different people are going to want different things out of a keyboard so I'll try and explain the pros and cons instead of making a blanket recommendation. First, I'll cover weighted keyboards.

If you want to go back and forth between playing your keyboard and playing a real piano, then I would advise you to get a heavy, fully weighted keyboard. These keyboards are designed to mimic the feel of a piano and the heavier they are, the easier it is to build and maintain muscles (and muscle control) that will translate into your playing on a real piano. These keyboards are generally heavier to carry than either unweighted or semi-weighted models making them less ideal if portability is an issue.

Semi-weighted keyboards are designed to have a touch that doesn't directly emulate a piano, but still provides some resistance. If you don't plan on playing an acoustic piano much or just happen to like the feel of a semi-weighted keyboard better, then these can be a great option. This is the middle road and you'll find a huge number of options available.

Unweighted keyboards are the cheapest to manufacture, the lightest to carry and can be made much smaller than other models. For all these reasons, many people get them as either their first keyboard, or as a second "travel keyboard". These keyboards feel nothing like a real piano at all and tend to frustrate pianists looking for "something to practice on". I know this from experience. ;)

The keyboard weight also affects how you play. Some professional stage keyboardists have commented that they find it easier to play quick ornaments, like trills, on unweighted and semi-weighted keyboards than on weighted ones, especially in certain popular genres. Conversely, most pianists I've talked to find it much more difficult to play classical music on anything other than a fully weighted keyboard.

A Few Thoughts on Keyboards I've Used

Within each feel there's going to be a lot of variation, not only from manufacturer to manufacturer but also from model to model. In terms of the heaviest feels, I would to certain models by Yamaha and Roland (more on that in a future post), while my experience with lighter feels is less extensive. I still use a Yamaha P-60 that I received as a gift over a decade ago, so it's not like buying a digital camera. If you get one you like, you can keep it a long time.

One of the lightest keyboards I've personally used is a Korg Microkeys with a very limited range. This is not a keyboard I play because I like the feel - it's a keyboard I use when I want something light and tiny to take with me somewhere. It's inexpensive, so I don't worry about breaking it or having it stolen in the same way I would with a "favorite" keyboard, so there's something to be said for that, too.

*How Many Keys?

The length of a keyboard is primarily determined by two things: the number of keys and the size of the keys. A normal full size piano has 88-keys so MIDI keyboards normally max out at 88-keys. 88-keys covers a range of 7 octaves and two semitones in standard western tuning. There are also 76-key (6 octaves and 2 semitones), 61-key (5 octave), 49-key (4 octave), 37-key (3 octave) and 25-key (2 octave) keyboards.

The fewer keys there are on the keyboard, the less space it needs to take up. At the same time, as the number of keys decreases, so does the range you can play in. Many acoustic instruments (including the human voice) have ranges that exceed three octaves, so if you're using a 25-key keyboard, you may find that you start your melody line on one end of the keyboard and then hit the other end before you reach the top of your line. That's why many small keyboards use transpose buttons.

Transpose buttons let you change the range your keyboard plays in at any time. This is a helpful workaround, but it still means one of your hands off the keys to change the setting - and we haven't even gotten into adding chords to that melody. For that reason, I would say that unless you really need to save space (or are very tight on money), that it's easier to play on keyboards with a minimum of 49-keys.

Key Size

As mentioned before, another big size factor is the size of each individual key. Standard or full size keys are designed to fit the size and spacing of a concert piano. However, some keyboards use keys that are a fraction of full size. If you're used to playing on an acoustic piano, these will feel cramped and you'll have to adjust your technique every time you go back and forth between full-size and reduced size. These are the big disadvantages.

The advantages of the smaller keys are that keyboards that use them can be manufactured to be smaller, often at a lower cost (which sometimes translates into a lower price for the consumer). If money and/or space are the biggest part of your decision making process, then feel free to consider them. But if you have the goal of eventually playing piano, you can give yourself a headstart by choosing full-size keys.

How do MIDI Keyboards Connect to A Computer?

The simplest way to connect a MIDI keyboard to your computer is to get one that can use a USB cable to send notes to the computer. Many new keyboards support this method and it means you won't have to buy any additional hardware. Devices that use this approach typically either use a standard USB driver or come with one you'll have to install. As long as you have a compatible driver for the operating system you use, you can take the keyboard and a USB cable and go from one computer to another without additional hardware.

Some keyboards have MIDI cable ports instead of USB cable ports (or in addition). The simplest way to connect these to your computer is to get a combination cable/MIDI interface, like the Roland UM-One, M-Audio Uno or Art M-Connect. I haven't used any of those models, but they run $30-50 USD a piece and allow you to connect your device directly to any computer with a USB port and operating system that the product's driver support.

MIDI ports can also be connected to a MIDI interface within certain audio interfaces or to a dedicated MIDI interface. If you already paid money for a professional or prosumer audio interface that has these ports, you can just a standard MIDI cable - which start as low as $6-7 USD.

http://suggestionofmotion.com/blog/panasonic-gh4-audio-meters/

• Acustica Audio Nebula 3.6 (Effects Sampling Plug-in) http://soundbytesmag.net/acusticaaudionebula/

• Embertone Friedlander Violin (Solo Violin Sample Library for Kontakt Player) http://soundbytesmag.net/embertonefriedlanderviolin/

• Parallax-Audio VirtualSoundStage (Stereofield Placement Plug-In Based on a concert hall display) http://soundbytesmag.net/parallax-audio-virtualsoundstage/

Specs

• Keyboard - 88-key, Tri-sensor Scaled Hammer Action II
• Maximum Polyphony - 256 Notes
• Number of Tones - 340 Preset / 220 User
• Controllers - 4 knobs, 6 sliders, Pitch & Modwheel, 2 Pedal Inputs
• Arpeggiator - 4 simultaneous programmable
• Phrase Sequencer - 8 Tracks, up to 1,000 phrases
• Storage - USB / File & Audio Recording
• System Effects - Reverb, Chorus, Delay, String & Damper Resonance
  • Insert Effects - 4 simultaneous / Equalizer, Compressor, Limiter, Enhancer, Early Reflection, Phaser, Chorus, Flanger, Tremolo, Auto Pan, Rotary, Drive Rotary, LFO Wah, Auto Wah, Distortion (w/ Amp Simulator), Pitch Shifter, Multi Chorus, Ring Mod, Delay, Piano effect
• Master Effects - 4 Band EQ & Compressor
• Independent USB & MIDI I/O
• Audio 1/4" L&R Input & Output, 1/8" Audio Input
• Weight 24 lbs
• Casio expect real street price to be below $1000

More info http://www.casiomusicgear.com/products/menu_privia/PX-5S

I'll try some noise reduction or frequency-filtering in Adobe, but I'd like to go out there with a Zoom and record better tracks. Any pointers to recording general nature sounds in a way to reduce that hum?

NAMM 2013
January 24-27 Anahaim California USA,
http://www.namm.org/thenammshow/2013

Let me know if you want to help us with coverage. Or just will be at the show. Send me PM.

The Pa3X Le has a huge collection of onboard sounds, and provides a generous 192MB of space for either your own samples, or widely available add-ons. With over 410 built-in Styles (and room for 1,200 in total), you can cover almost any musical style imaginable. The Pa3X Le’s impressive feature set includes a TC Helicon Vocal Harmonizer, a dual MP3 player & recorder, a powerful Dual Crossfade Sequencer, and much more. Use the video output to display lyrics or score on an external monitor, making it perfect for karaoke or band leading. On stage, the Pa3X Le provides a professional look with a sturdy black aluminium case with wooden side panels.

http://www.korg.com/us/products/synthesizers/pa3x_le/

• Semi-weighted Fatar keybed in a choice of 25, 49 or 61 keys
• First-of-its-kind Light Guide™ system and unique Clear View display

• The Komplete Browser unifies the instruments in Komplete, delivering tag-based access to all Instrument presets from one plug-in interface. Instead of browsing by instrument, users can now search by sound.
• Native Map technology automatically maps all key parameters for each Instrument to the touch-sensitive controller knobs – all clearly visible on the keyboards’ Clear View display. Each instrument was carefully mapped by NI sound designers to arrange the most relevant parameters on pages laid out on the keyboard’s display.
• The Light Guide shows key switches, zones, and more on multi-color LEDs positioned just above the keys. For example, key switches for Kontakt Instruments such as Action Strikes are illuminated in one color, while keys used for performance are lit with another. This puts the instrument’s layout on the keyboard at a glance without having to look at the software. The lights also provide performance feedback – scales, chords, and arpeggios light up across the keyboard as they are played.
• Smart Play features, designed to accelerate workflow and stimulate new ideas. Chord mode lets producers play complex chords with single keys. Chord Set mode provides ready-to-play progressions that can inspire and augment original compositions or add new flavor to remixes. The integrated scale mapping features deliver fast access to new melodic possibilities – notes of the currently selected scale light up on the Light Guide. Many widely-used musical scales can also be mapped to the white keys. ‘Wrong’ notes can be automatically re-mapped so melodies are always in tune. The arpeggiator works seamlessly with every Komplete Instrument. And the eight controller knobs manage parameters such as direction, rate, rhythm, patterns, and variations.
• Two touch-sensitive Touch Kontrols can mimic the behavior of pitch and mod wheels, or physical objects like springs and bouncing balls, for interesting modulation curves.
• Keyboard functionality such as key splits and Touch Kontrol behavior also function when using the keyboards as a standard MIDI controller, opening these control innovations to instruments outside the Komplete universe.

http://www.native-instruments.com/en/products/komplete/keyboards/komplete-kontrol-s-series/

Avaiable at http://www.tecontrol.se/index_files/USBMIDIBreathController.htm

Review at http://www.filmmusicmag.com/?p=11085