Audio Software and Hardware
SOFTWARE
Logic Pro X is a digital audio work station with creative tools for professional songwriting, beat making, editing, and mixing. When users are ready to take the next step up from Garageband, Logic Pro X is the best choice!
FL Studio is a complete software music production environment, containing everything you need in one package to compose, arrange, record, edit, mix and master professional quality music.
Garageband is a Digital Audio Workstation that contains a complete sound library, including instruments, vocal effects, and much more.
Audition is a comprehensive toolset that includes multitrack, waveform, and spectral display for creating, mixing, editing, and restoring audio content. This powerful audio workstation is designed to accelerate video production workflows and audio finishing, and deliver a polished mix with pristine sound.
Settings & Editing
- Change Sound Settings on MacUsers can play sound through internal speakers, headphones, or other external equipment plugged into your Mac.
Helpful Websites, Podcasts, & YouTube Channels
WEBSITES & PODCASTS
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Smartphone Audio Apps
Smartphone Audio Tips, Tricks, and Tutorials
Podcasting Tips
Books, Journals, & More
iTunes Music by ISBN: 0415656850Publication Date: 2012-09-20Apple's exciting new Mastered for iTunes (MFiT) initiative, introduced in early 2012, introduces new possibilities for delivering high-quality audio. For the first time, record labels and program producers are encouraged to deliver audio materials to iTunes in a high resolution format, which can produce better-sounding masters. In iTunes Music, author and world-class mastering engineer Bob Katz starts out with the basics, surveys the recent past, and brings you quickly up to thenbsp;present--where the current state of digital audio is bleak. Katz explains the evolution of standards for dynamic range through the present and with implications for the future. He details the new methods that Apple is developing to accept high resolution audio and shows step by step how audio engineers and producers can take advantage of them. This book is designed for all those dealing with sound, from sound engineers to music industry executives and musicians--and those aspiring to all these roles. This book will help you understand the issues around delivering high-quality environment and get all your facts straight for when you encounter resistance to good sound. Topics covered include: * Contrasting the production of CD albums with iTunes albums * High Resolution audio * Dithering * Distortion (and how to avoid it) * Lossy Coding * Loudness Metering * Sound Check and how it affects our production techniques * Apple's tools for Mastered for iTunes Foreword by renowned mastering engineer Bob Ludwig. Join the forums at www.digido.com/iTunes, for the latest information and discussions!
- An essential tool for creativity’: technologies, spaces and discourse within pop music production
Within the pop music industries, the term ‘creativity’ is a popular descriptor of the processes associated with the production of music. Historically, a romantic or rational approach has often featured in discussions on creativity. Some scholars have suggested that a culturally informed understanding of creativity is more useful, while some have advocated that we abandon the term altogether. The purpose of this article is to emphasise how the term ‘creativity’ works as a part of a discourse that risks rendering some practices as creative while ignoring others. In the face of changing technologies, the cultural value associated with creativity – and its use to label technologies, spaces and practices – helps shape ideas about legitimacy and prestige. - Reel-to-Reel Tapes, Cassettes, and Digital Audio Media: Reverberations from a Half-Century of Recorded-Audio Response to Student Writing
► Literature on recorded-audio response from the 1960s through the 2000s is examined. ► Recorded-audio response has elicited both positive and negative perceptions. ► Recorded-audio response is analyzed using Rogers’ diffusion of innovations model. ► The diffusion model explains recorded-audio response's long-standing marginality. ► Rogers’ diffusion of innovations model offers a heuristic for adopting innovations. This article applies Everett M. Rogers’ diffusion of innovations model to analyze how instructors have adopted the method of recording audio responses to students’ writing. The analysis focuses on five attributes of recorded-audio response—its observability, compatibility, complexity, trialability, and relative advantage—that, in Rogers’ model, influence the pace at which an innovation is adopted. I examine these attributes by drawing on a half-century of literature discussing recorded-audio response. The analysis reveals that recorded-audio response has elicited a mixed set of perceptions of the innovation's five attributes even among those who have adopted it, many perceptions that would tend to boost its adoption rate, but some that would tend to suppress it. Such an analysis provides both a systematic perspective on why audio-recording has remained a marginal method for responding to students’ writing, and also a heuristic by which writing instructors can consider adopting this and other pedagogical and technological innovations.
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