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Waves MaxxBass: Review & Test
 
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For further info on me and my studio please visit http://www.zedmarty.com. ----------------------------------------------------------------------------------------------------------------- Facebook: https://www.facebook.com/zedmarty/ Instagram: https://www.instagram.com/zedmarty/ Twitter: https://twitter.com/ZedMarty -----------------------------------------------------------------------------------------------------------------
Views: 3642 Zed Marty Production
MaxxBass Car Audio by Waves
 
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Using psycho-acoustics, MaxxBass delivers richer, fuller bass to your car stereo without taxing your system. Your bass just got bigger.
Views: 10689 Waves Audio
#1 Цифровая обработка звука ADAU1701 | Открытый проект | Начало
 
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За последние десять лет в области аудио произошли быстрые и значительные изменения. Подавляющее большинство источников звука в наше время являются цифровыми. Это высококачественные с высоким битрэйтом, или удобные с высокой степенью сжатия. Ладно, а как сигнал обрабатывается после декодирования? Надо отметить, что до сих пор во многих случаях обработка аудио сигнала осуществляется в аналоговом виде. Одна из основных причин этого заключается в том, что применение цифровых сигнальных процессоров с отдельными аналого-цифровыми и цифро-аналоговыми преобразователями отрицательно сказывается на стоимости этих обычно недорогих систем. С помощью фирмы Analog Devices и их эффективного цифрового процессора со встроенными преобразователями сигналов SigmaDSP, мы решили создать недорогую систему цифровой обработки звука и спроектировали два модуля – RDC2-0027 v1 и v2. Это семейство обеспечивает: Аудиообработку и преобразование сигналов профессионального качества (Отношение сигнал шум до 112 дБ) Простую технологию программирования с помощью дружественного графического интерфейса Sigma Studio. Невысокие цены, что позволяет применять эти высококачественные процессоры даже в недорогой электронике Зачем они. Выравнивание амплитудно-частотной характеристики портативных динамиков, особенно поднятие её на низких частотах – очень характерная область приложения инженерной мысли. Ещё имеется постоянное желание молодёжи, повысить громкость воспроизведения аппаратуры при сохранении портативности. Эта значительная коррекция в области низких частот и большая громкость, приводит к ситуации, когда усилитель и динамики работают на пределе и вносят значительные нелинейные искажения. В прошлом попытки решить эту проблему сводились к введению аналоговых ограничителей сигнала, что, в общем работает, но тоже приводит к появлению нелинейных искажений. А процессоры SigmaDSP позволяют реализовать более сложную адаптивную динамическую обработку сигнала и избежать грубых искажений. Автомобильная акустика работающая в малом и сложном объеме. Здесь просто необходимы подстройки АЧХ всех источников звука. А их может быть несколько. Фронт, тыл, сабвуфер. Лево, право. Очень важное достоинство процессоров SigmaDSP заключается в том, что их программирование практически не требует специальных программистских навыков. Среда SigmaStudio предоставляет дружественный, простой интерфейс типа конструктора (drag-and-drop). Это позволяет разработчику создавать многоканальные аудиосистемы высокого качества с широкими функциональными возможностями путём выбора готовых модулей из входящей в комплект библиотеки. Блоки выбираются, компонуются и соединяются "проводниками" с помощью мышки. Среди функциональных блоков имеются регуляторы уровня, разделительные фильтры (кроссоверы), эквалайзеры, генераторы, а также профессиональные модули динамической обработки сигнала. В библиотеке также есть стандартные для аудиоиндустрии лицензируемые алгоритмы, такие как SRS TruSurroundXT™, Waves MaxxBass™, Dolby Prologic-II® или BBE-Viva™. ►►Комплект RDC2-0027v1◄◄ https://www.chipdip.ru/product/digital-signal-processors-rdc2-0027v1 ►►Проект RDC2-0027v2◄◄ https://www.chipdip.ru/product/dsp-rdc2-0027v2 ►►USB программатор FLASH и EEPROM ◄◄ https://www.chipdip.ru/product/rdc2-0026 ►►Ваниль, Клон Arduino Uno◄◄ https://www.chipdip.ru/product/vanil ►►Импульсный понижающий стабилизатор◄◄ https://www.chipdip.ru/product/rdc1-0013-5v ►► Электронные войска◄◄ https://www.chipdip.ru/manufacturer/jelektronnye-vojska Вопросы и предложения ★ make@chipdip.ru ★ Мы в соцсетях. Там может быть больше: https://vk.com/chipidip https://www.facebook.com/chipidip https://www.instagram.com/chipidip/ http://www.instructables.com/member/ChipiDip/ #ардуино #sigmastudio #dsp
Views: 8651 Чип и Дип
Waves MAXX Bass 101 and 102
 
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2002 AES Trade Show Product Introduction for the Waves Maxx Bass 101 and 102. Sorry about the quality, but thought it might still be interesting.
Views: 3000 JamnettVideos
What Is A Bass Processor and How Do I Wire It? | Car Audio Q & A
 
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Watch as Brendan and Allyn answer a few questions about sound processors! They will use the NVX XBBR explain what Bass Restoration Sound Processors do, how they work, and how you wire them! See all of our Sound Processors! http://www.sonicelectronix.com/cat_i20_sound-processors.html - - - - - - - - - - - - - - This video is a part of our Q&A Series, be sure to check out the Q&A playlist to see them all! https://www.youtube.com/playlist?list=PLzFvCAfIq7a3NVt24ldajsaSguY2VVsou Want to have your question featured? Submit your questions here: http://a.pgtb.me/d3XH4f Sonic Electronix always strives to be the premiere online shopping destination for car electronics and other consumer electronics. Our slogan is "The X-Factor When Shopping for Electronics" and it is our goal to be just that. We're here to help you find solutions and great prices without sacrificing service. http://www.sonicelectronix.com/ Sonic Electronix Facebook: https://www.facebook.com/sonicelectronix Sonic Electronix Twitter: https://twitter.com/SonicElectronix Sonic Electronix Instagram: http://instagram.com/sonicelectronix
Views: 114916 Sonic Electronix
Making the Bass Mono In Mastering - Episode 78
 
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Streaky from Metropolis Mastering explains about making the bass mono when mastering. for more info on mastering : http://www.streakymastering.com Master With Me : 20% off for youtube viewers ! use code : "thanksforwatching" https://www.streakymastering.com/order-mastering/ FREE eBook on mastering : http://ebook.streakymastering.com/ Resources : Industry Insiders Weekly Update : http://streakymastering.com/email Audio Engineers Podcast : http://streakymastering.com/podcast Behind the scenes pictures on Instagram : http://instagram.com/streakymastering Daily Industry thoughts on Facebook : http://facebook.com/streakymastering Ranting on Twitter : http://twitter.com/streakymasterin
Views: 3404 Streaky
2009 COMPAQ Presario CQ56 Notebook PC Running Windows 7 Home Premium
 
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It Components of Compter Windows 7 Home Premium Intel(r) Pentium(r) Coore 2.3GHz 3GB of Ram 281GB HDD Intel Graphic Card Realtek HD Audio
Views: 5007 ThekevinCave
How to get Tight, Heavy Bass with Mastering - Episode #30
 
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Streaky from Metropolis Mastering explains one of his methods of getting low end to sound tight, defined and heavy. http://www.streaky.com http://mtrpl.is/streaky Master With Me : 20% off for youtube viewers ! use code : "thanksforwatching" https://www.streakymastering.com/order-mastering/ FREE eBook on mastering : http://ebook.streakymastering.com/ Resources : Industry Insiders Weekly Update : http://streakymastering.com/email Audio Engineers Podcast : http://streakymastering.com/podcast Behind the scenes pictures on Instagram : http://instagram.com/streakymastering Daily Industry thoughts on Facebook : http://facebook.com/streakymastering Ranting on Twitter : http://twitter.com/streakymasterin
Views: 31359 Streaky
EMT 245 Digital Reverberator, Hallgerät 1979
 
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EMT 245 Hallgerät, Gesang Sennheiser MD441, Gitarre Neumann TLM 170, Waves MaxxBass Kompressor/Limiter, Salzbrenner Stagetec Mikrofonvorverstärker, Cantus Mischpult, live bei einer Gartenparty aufgenommen.
Views: 1379 SNR Musikproduktion
Introducing: Mixing Drums with Compression
 
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An overview of the latest in-depth course from Matthew Weiss ➥ http://drumcompression.com ** Get 20% off this week with the code LAUNCH20 **
Views: 3349 Pro Audio Files
การใช้ Waves SSL ปรับกลองแบบบ้านบ้าน
 
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มาทำให้กลองของเราฟังดูดีขึ้นกันเถอะ ด้วย Waves SSL channel สนับสนุนโดย http://www.polarbearstudios2011.com ให้งานบันทึกเสียงของคุณเป็นเรื่องของพวกเรา ห้องบันทึกเสียงมาตรฐานราคาไม่แพง หรือทักทายพูดคุยกันได้ที่เพจ https://www.facebook.com/pages/MAKMAW-STUDIO-RECORDS/216065825085062?ref=hl&ref_type=bookmark
Views: 1349 20thfloorsmusic
4 Basic Types of Reverb You Can Use in a Mix
 
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Understanding Algorithmic Reverb: http://algoverb.com http://theproaudiofiles.com // A video on some basic types of reverb and their applications. Transcript Excerpt: Hey, guys. This is Eric Tarr for theproaudiofiles.com. Here's a video for you about creating four basic types of reverb effects. I've already got a rough mix pulled up in this session here for an acoustic pop song. I'll play it back for you, and then I'll get to work adding reverb on different elements of my mix. [mix] This mix has a number of different elements. Percussive elements, like claps, finger snaps, tambourine, shaker, and even drums. I've got guitars like bass guitar, electric guitar, acoustic guitar, I've got piano, and a bunch of different vocals. Lead vocals, and then stacks of my background vocals. One challenge as a mixing engineer that you face with a song like this, where all the parts were performed independently, is trying to get them all to blend together and mix together. One thing you can do to solve that problem is to use reverb. So the first trick I'm going to show you, the first type of reverb, is a general purpose reverb to use across a lot of different elements in your mix to get them to blend together. How I'm going to do this is create one stereo auxiliary send that I'm going to use for the reverb, and then use a buss from a number of the different tracks across percussive elements, guitars, to send that signal into this single reverb to blend everything together. So what I'll do here is just select some of these tracks, like my percussive tracks, and I'm going to click Shift+Option here, send everything into buss 1-2. Okay. I'm going to make the input over here buss 1-2 on my reverb track, maybe come over here to the guitars, and how about these acoustic guitars. I will select these and send some signal over there. Alright. Another thing I'll do, if I right-click on this send, I'll bring up a fader that I can use on all of these tracks. So if I Option+Click and Shift+Option+Click, it will bring it up for all of the tracks to unity gain. This is a good place to start. Then, I can go back through the individual tracks, depending on how much reverb I want for the claps or the shaker and so on. Okay. So let me — I don't need it on the bass. Now, let's get some signal going in here and add in the reverb plug-in. The plug-in I'm going to use is just the stock D-Verb that comes with Pro Tools. Let me talk about dialing in the settings that you might want to use for a general purpose reverb like this. I'm going to use more of a room reverb sound. I don't need a long wash of reverb for the mix, so I'm just going to use a short reverb time. About one second. Maybe I'll add in a few milliseconds of predelay. How about about fifteen milliseconds will be great. I'm going to back off the diffusion so that the reverb isn't too dense. I don't want it to be too dense. I just want to add in a little bit of ambience. So I'm going to play it back and start listening to these things. [mix playback] To help you focus on it, what I'm going to do here is solo these tracks and just listen to these. [snaps playback] I'm going to roll off a little bit on the top end so it's not as bright. Even back off the reverb time even more. Now I just need a little bit less of a blend. I want more of the dry signal. Just enough reverb to give it a sense of space. So that's a general purpose reverb you can use for lots of different elements. I'd even encourage you on a song like this to think about using that reverb across all of these different background vocals. Next, let me move on to a different type of reverb that I'm going to use over here for my lead vocals. Here, instead of a room type of sound with a short reverb tail, I'm going to use a much longer reverb time. So here I'm going to go for a different type of reverb — a hall reverb. Okay. For this one, I'll switch over and use the AIR Reverb. Okay. Next, I'm going to go in and find here the early reflections. Look for one that's going to give me more of a hall sound. A concert hall. That'll be great. I'll back off the predelay a little bit. How about 20 milliseconds. Say a room size about 75. Then, a reverb time — I'm going to look for it to be a little bit longer. So this one will be closer to two seconds. I'm going to use more of the reverb tail, less early reflections, so I get more of a wash in the sound. Next I need to go in here, bring the signal in on a different buss 3-4. I'll set it up over here too on buss 3-4. Now I've routed this signal to a different reverb. Let's listen to this one. I'll call this my vocal verb. [guitars, snaps, vocals play] Let me just focus on the vocals. [vocals playback, with reverb] I'm going to roll off a little bit on the top end again. [vocal and reverb plays] Shorten the low end. [truncated]
Views: 16554 Pro Audio Files
RE200 Bass Enhancer Rack Extension
 
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Feel free to rate comment and subscribe and if you have any questions or suggestions let me know! Soundcloud - https://soundcloud.com/vnumusic Facebook - https://www.facebook.com/vnu.face Music: VNU music DAW: Reason 7 Thx for watching! ~ VNU music ~
Views: 4701 VNUmusic
Pro Tools 302: Dialog Editing For Film  TV - 20. The Screening and Spotting Session
 
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Additional videos for this title: http://j.mp/1oTv6U0 Pro Tools 302: Dialog Editing For Film & TV by Roy Vargas Video 20 of 48 for Pro Tools 302: Dialog Editing For Film & TV Editing dialog to picture is complex. Theres a lot of interactivity, when audio and video sync in post-production, that makes it essential for you to master all the concepts and tools. Thats why we called upon experienced Pro Tools expert Roy Vargas to break down the process and show you everything you need to know as a professional dialog editor. The course starts with a collection of tutorials that breakdown the anatomy of a post-production session. Roy explains the various kinds of sessions, tracks, file formats and organizational hierarchies that Pro Tools operators must know. Next, he shows you, from experience and by example, how a Pro Tools operator constructs and sets up a dialog-to-picture editing session. Then Roy dives into timecode, reference tones, sync pops, reel splitting and much more to assure that your session is built on solid ground. From there you explore the tools and techniques he uses to edit, crossfade, clean, sync, time-stretch and fix any kind of audio situation you might come across in post-production. By the time you finish this 48-tutorial course, you will "own" all the tools, techniques and, most importantly, the confidence to run your own Pro Tools post-production dialog editing sessions! More info on this title: http://j.mp/1oTv6U0
Views: 6618 macProVideoDotCom
Selig DeEsser Intro Video
 
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Introducing the Selig DeEsser and sibilance extractor. De-essing without the stressing!!! Music by My Fair Fiend http://myfairfiend.bandcamp.com https://www.youtube.com/user/MyFairFiend https://www.facebook.com/myfairfiend http://www.reverbnation.com/myfairfiend
Views: 12997 Giles Reaves
Mixing Kick Drums w/ That Sound + Slate Digital Blackbird Samples
 
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Free access to premium courses from David Glenn ➥ https://theproaudiofiles.com/members Ear training for EQ ➥ http://quiztones.com Learn compression ➥ https://learncompression.com An excerpt from The Mix Academy. This video covers mixing kick drums. Hear the full song: https://soundcloud.com/davidglennrecording/whatcha-gonna-do-dgr-rough-mix — Transcript: Alright, we're going to take a look at the drums. Usually, I start out trial and error, just kind of feeling it out, moving things around, gating, pushing up on the console, that kind of stuff. For this one, I went off camera and I blended the drums a little bit, because I chose to blend Triggers. Actually, for the kick, I chose to replace it, but I blended a — kind of a Pop cinematic kick with a — well, let's take a look. So I've got — first up on the kick drum, I chose to mute and note use the live kick. Boo, right? Not that it wasn't usable, it was just that for me, kind of going through it as I messed around with it, I felt like this is going to take a little more work than if I were to replace. The samples now are so good. Especially Slate's Blackbird bundle and the way that it tracks the dynamics of the player. I love it. So for me, time is money, I was going to go ahead and make that happen quickly. So let's take a look at the original kick. I'll mute my second sample. Here's the original. [kick drum] Okay. And so we could gate that, and we could go in and clean up some of the mid-range, we can add a little more click, we can tighten it up, we can use transient designers and give it more punch and attack, we can use multi-band transient designers, and give more oomph to the bottom and the top, and all of that. We can stack plug-ins and have fun and go to town with this. But for me, I was just like, you know what, I know there's some great samples in my bundle here, so I went ahead and went to town. So here's what I did. First up, I chose to replace it with the Gretsch preset in the Slate Blackbird bundle. You'll hear me talk about that a lot. I love the way that they've recorded multiple velocities, so you can really retain through some trickery with Trigger and playing with the dynamics and velocity settings and parameters in Trigger, you can really retain a lot of what the drummer recorded, and so I like to use that for this. Let's go ahead and hear the trigger. [triggered kick drum] So kind of a boxy kind of thing going on, but I liked it for this song. But you'll see in a second what we did to kind of emphasize some other things in it. So what did we do? We tightened up the sustain and the release for the direct mics. Kick in, kick out, kick FX. I left the overheads and the room mics open, the full sustain and release, the decay is there. But then for the dynamics like I talked about, I restricted their range first of all, for 115 to 127. That's going to be medium to hard, and all hard hits. There was no where in the kick that I felt like he was playing really soft and then building or anything like that, or I would either go in and open that range a little bit, or automate it so that it felt a little more natural. But these are mostly medium to hard hits. The dynamics and velocity, you can see here, you've got the full range of dynamics, I've just restricted that again. Not anything in this kick performance that I felt like needed a really soft hit through to a medium or a hard hit. That was a kick for that. Then I went to the EQ. Looks a little crazy, but I wanted a little more punch in it, and I wanted a little bit less of the mid-range stuff. I like that it was a different kick than I've used in previous months and just kind of switching it up, but there was some stuff about it I just wanted it to change. Then I blended in another kick, so some of these EQ moves are to allow the other kick to do its thing. So here's before. [kick drum before EQ] After. [kick drum after EQ] Okay. So we're really cleaning up the room mic mid-range there. We're restricting how much that's going to go on, but the punch, a little bit punchier. There's a little something weird around 180, and obviously, that room — this is a big difference here. Alright, here's without it. [kick before EQ] With it. [kick after EQ] So we're just shaping the mid-range a little bit. That's a pretty common move. A lot of guys like to take out mid in the kick. It's definitely a little more of a rock thing. Some indie singer/songwriter stuff you maybe want to boost some of that. But I wanted this kick to kind of have more definition and be more about the direct mic, and not so much about the room. So that was that. The next one up, because I used a mono to stereo instance of Trigger, you guys who follow me every month, you're members, you've been a member for awhile, you know I like to take these stereo instances of Trigger, and I like to take the 140Hz and below, the low end, and collapse that down to mono. [truncated]
Views: 5517 Pro Audio Files
Locutor Edu Oliveira - Locução Eco Scooter (Brazilian Voice Over)
 
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Locutor Edu Oliveira - Locução Eco Scooter (Brazilian Voice Over) www.eduoliveira.com.br
Views: 81 Edu Oliveira