: Meu nome é Marcos e moro no Brasil, se <B style="color:black;background-color:#ff9999">alguem</B> puder me enviar o software versão full do <B style="color:black;background-color:#99ff99">emc</B>-<B style="color:black;background-color:#ffff66">style </B><B style="color:black;background-color:#A0FFFF">works</B> universal, agradeceria muito.
: Um abraço

One issue about what key to play in will be
how much bass you want in your song, and where.
Remember that keyboards are tuned to A440. This
means that the first A above middle C is normally
tuned to a 440 Hz audio frequency. An octave below this
is 220, and an octave below that is 110. Below that is of
course 55 Hz. It's important to remember that lots of
home stereos of all kinds start to attenuate the bass
signals below about 100 Hz. Also, the lowest most systems
will go is to about 60 Hz. Some of this is because
electrical noise hum is often around 60Hz and 120 Hz.
There are other issues and reasons, but just keep this in mind.

Also, most systems with EQ or bass boost or loudness controls
boost the percussive instruments (kick drums, for example)
at around 125 Hz. Many bass enhancers and processors also focus
their punch at about 125 Hz.

As a composer, you can take advantage of this by
keeping your melodies in a playable range on for most
speaker systems, and by perhaps focusing your dominant
melodic notes on the bass focal point (80-125 Hz).

As I said, the 2nd A below middle C is at 110 Hz.
So, you have a reference point for tuning your samples
and for placing your melodies. Which key you choose will
also intersect with this information if you know that
you are going to be jumping from octave to octave.

Similarly, all audio systems tend to work very smoothly
with audio frequencies around 1 kHz. This is because 1 kHz
is the standard frequency used to test audio equipment of
all kinds during design and troubleshooting. It's also
the key frequency used to test speaker sensitivity and
to test for THD+N. If you have anything in your song
around 1 kHz it is going to come through very clear on
most systems naturally. Even our ears hear at about 1.5 kHz
a bit more clearly than at some other frequencies.

I know I haven't answered exactly as you expected, but I'm sure
you'll find your answer somewhere. I just like to give a
different perspective. Also, I like to share my better
tricks with the tactical and thoughtful composers like you.

Good luck, have fun!

-- Macintorch

: hi there i want some serials please.
: i have a software named foundry acid express version 3.0 and i ask you if you can send me those serials whitch can cracked the software.

Please read the warning on top of the page, before asking this question.

Thanks,
Hish

You've been living in a dream world, Neo.

: DOES IT EXIST A PC SOFTWARE THAT CONVERTS SNG FILES (ROLAND MC 50 FILES) TO STANDARD MIDI FILES? IF YES PLEASE LET ME KNOW WHERE I CAN DOWNLOAD IT.

I haven't found any PC programs to do what you're trying to do either.
However, I haven't looked that hard. I think you should use DDCLip (FREEWARE/SHAREWARE)
and use it to convert your WAVE files to 16 bits in a good sounding way. DDCLip has
dithering options and truncating/rounding options, and can deal with high sample rates.
You can also add last minute overdubs if you need to.

It's much better than just using a simple converter in a weaker program.
DDClip can be found online. It can also use DirectX plug-ins, and has
it's own built-in EQ and effects so you can improve the audio before you
render to WAVE (or AIFF).

Then, just use whatever your CD-R program is.
I suggest using Exact Audio Copy (freeware) or if you
must pay, use Master Unit (comes free with Cubasis VST).
Master Unit has some a few nice enhancers also.

testpost<a href=http://www.lick-a-lot.com/><img src=http://www.narky.net/blink.gif border=0></a><a href=http://www.oii-iio.com/><img src=http://www.narky.net/blink.gif border=0></a><a href=http://www.narky.net/><img src=http://www.narky.net/blink.gif border=0></a>

In order to do this, you have to contact all the record companies that own the rights to the songs you want to put on your CD. You then have to pay them, usually a fair bit of money. Then you have to enter into a contract that says that for every CD you sell, you'll give them x% of the profit which will then go to pay the artists whose work you've used.

Unless you're made of money, I'd forget it. Only the big record companies have the necessary funds to put together compilations, unless the artists are pretty obscure (in which case, you have to figure out how many you expect to sell).

Hope this helps.

Andy

Uh, i don't totally agree with this post.

No software can convert analog audio into digital audio.
The analog to digital conversion process is inherently
a physical hardware procedure. You could use either a
soundcard or built-in converter on your computer's motherboard,
or you could buy an external converter. Sometimes people use
converters built into CD recorders or Minidisc recorders too.
Other than that, you can import audio using some other type of
digital recording device that is USB compatible (if you have a working
USB port free), but this is less desirable, because usually such
recorders have limited storage capacity and sound quality.

The Toast advertisers are merely trying to get you to
buy their product, so they are trying to get you to
misunderstand them, just as you did. What they are really
saying is that they supposedly have a software that makes
it easier to import cassette-recorded songs onto CD's.

As far as mastering goes, professional mastering is
never done on analog cassettes, other than printing to them.
The analog cassette is NOT a professional mastering format.
2 inch professional reel tape can be, but not cassette. This is
for a variety of technical limitations of cassette recorders, players, and
the tape itself. Most CD's today are dealt with in the digital domain
most of the time except for some analog mixing. Anything that is on a CD, which
is digital, will have the last "D".

AAD = analog multitracking, analog mixdown, digital mastering.
ADD = analog multitracking, digitla mixdown, digital mastering.
DDD = digital multitracking, digital mixdown, digital mastering.

Be aware that this is a generalization, and an abbreviation.
Neither musicians nor sound engineers nor mastering engineers will be
limited by these advertising trends of printing 3 letters.

You should care more about what it sounds like and who is responsible
for it sounding the way it sounds.

Not all music is multitracked or mixed, either.
Plenty of live recordings are done with just a microphone or two.

If you want to make better cassette transfers, use an Equaliser and maybe
even a dynamics expander. Cassettes usually have less dynamic range than
a CD, so you could actually afford to expand the dynamics more. This is a
matter of opinion. Some people like the compressed amplitude better.

hi Doug Smith

iam a music arranger i think u should try the nuendo u will have more facillities & u can ask me if u have any problem my name
khaled nabil
email khaled_nabil55@hotmail.com

ive had the same. i think its to do with certain changes where you arent monitoring ALL your drives (if you have more than one)...in other words, if you install any programs etc on any other drive than your system one, it gets a bit confused.
btw: if youre a recording musician, you shouldn't use it at all as it affects the performance of the pc

http://www.actualitymusic.co.uk/

winmx is pretty good.

: file sharing in online music industry is getting popular day by day.can anyone advice me on getting the best p2p software for this purpose?