Bobby Owsinski's Big Picture Production Blog Spirit Catcher Progressive House 15 FPS vs. 30 FPS vs. 60 FPS - Bo Allen I've heard a few people say "the human eye can't tell the difference between 30 and 60 frames per second." Well, they're right. But your brain can! Here's my attempt to prove that you can detect the difference between 30 FPS and 60 FPS. Pay close attention to the way it "feels". Note: "fps ok" means the animation is playing intended rate. Update: I've created an "HTML5"-based comparison here, in case you can't view the Flash animations below, or are just curious. Let's start with 15 FPS. Now, let's move onto 30 FPS. Now 60 FPS. I can easily detect a more life-like fluidity in the 60 FPS example. On another note... Looking for cool new t-shirts? They have a huge selection of high quality silk screened shirts for $6 each.Or, Get 10 for $50!
How to play FLAC files This article shows how you can play Free Lossless Audio Codec (FLAC) files that you may have obtained on the Internet. It covers the easiest methods to just download software that supports FLAC playing, to making your current software, like Windows Media Player, support FLAC playing. Keep reading for more information on FLAC or jump right to playback instructions: If you didn't jump right to a method, then good for you! What is FLAC? FLAC is a lossless compression format for audio. FLAC is free and open source, and it's royalty free nature means that it enjoys wide support in software across all operating systems. Lossy vs. While an MP3 may be just 4MB or under in size, FLAC files are generally much larger, with 30MB - 40MB not being uncommon for a single track. Easiest Method - VideoLAN Client for Windows, MAC and Linux With the VLC player, you can enjoy your FLAC audio files quickly. You can get VLC for Windows from this URL. Click File and click the Open File option. Finally
wickiemedia's Channel Welcome to WickieMedia's audio engineering and production tutorials.Here you'll find in-depth information about sound-design and processing of sound. In the first season we see Dynamic processors like compressors, gates, de-essers, maximizers. In the second season: Spectral processing, we are looking at frequencies and how to manipulate the frequency content of our audio signal with the use of filters and equalizers. Currently running season 3. Where we will take a look at mixing, mixing theory, mixing consoles, signalflow..
By Michael Fremer -- Music * Reviews * Audio * Sound * Vinyl... Stereophile's May issue includes my first of a two part review of VPI's Classic Direct Drive turntable. Does the new 3D printed tone arm sound different than the company’s standard metal one? Does it sound better, or not as good? You make the call here. If the files are different, one file features the Lyra Atlas installed in the standard VPI JMW arm mounted on VPI's new Classic Direct Drive turntable. The other file features the Lyra Atlas installed on the new 3D printed tone arm on the same turntable. The phono preamp is the Ypsilon VPS100. Please vote and leave a comment explaining your vote. File "A" File "B"
The Ultimate Guide to Remixing: 19 Track-by-Track Tips from Disco Pusher MIDTOWN, MANHATTAN: On Tuesday, November 29th, 2011 Disco Pusher released our new mixtape Now You Know How The Story Ends. It’s a 19-track selection of our remixes, productions and songs that features artists that we’ve worked with and, hopefully, demonstrates our musical style. The artists range from the international to local, pop stars to street kids, the past and the present. TIP 01: ISOLATE & LOCK IN ON THE VOCAL RHYTHM Track 01 THEOPHILUS LONDON: “STOP IT” (DISCO PUSHER REMIX) Original version appears on Timez Are Weird These Days (Warner Bros.) The first thing I do with any remix (or song for that matter) is to simply solo the vocal and listen to it multiple times (even after music has been written): The point is to lock into various rhythms and overall flow. JT’s original (produced by Timbaland) was both popular and potent. Instead I really listened to what was going on with the original: it was kind of an ode to old dance-floor disco (with a Timbaland twist). 1.
Norbert Nissel (RenoAudio) Batch edit your iTunes music info tags - Applelinks.com Okay, here's a pretty simple tip, but one you may not have known you could do. In iTunes, you all know how to edit the info tags, right? It's the same as getting info on a file from within the Finder; you just select the song you want, then hit Command+I on the keyboard (or select Get Info form the File menu). Fair enough, but let's say you want to add an entire album's publication year to the info list, or that you want to change the genre to something a little more accurate, or even that you want to add artwork. To select multiple tracks (in this case the entire Metaphysical Graffiti album by the Dead Milkmen), you simply click the first track of the album in your iTunes library, hold the shift key on your keyboard, then click the last track. Now, you'll again hit Command+I on the keyboard. All of your batch options are there, each with a check box. Click okay, and your changes are applied. Of course, many of you won't care to attach this much information to your audio tracks.
Music Machinery 4165-insiders-look-grateful-deads-wall-sound Blog>An Insider's Look at the Grateful Dead's Wall of Sound Audio Junkies 05:15 PM 10-29-2007 I recently had the privilege of speaking with Richard Pechner about the Grateful Dead's Wall of Sound and his role in creating what is considered to be one of the largest sound systems of all time. The Wall of Sound was built exclusively for the Grateful Dead and it was used on their tours from 1974 to 1976. Click below for the interview and pictures. [more] Grateful Dead Wall of Sound Specs 26,400 watts of continuous power via 44 amplifiers 586 JBL loudspeakers (15", 12" and 5") 54 Electrovoice tweeters 75 tons in weight (approximately) - McIntosh 2300 Power amplifier and JBL D130 driver Richard Pechner was a roadie and photographer for the Grateful Dead during the design and implementation of the Wall of Sound. AJ: What is your background in pro-audio and how did you get involved with the design and creation of the Wall of Sound? Richard Pechner: I had no formal training in pro-audio. wow!