Das neue digitale Tonstudio: [kreativeres Musikmachen mit perfektem Sound]
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | German |
| Published: |
Bergkirchen
PPV Medien
2015
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | 192 S. Ill., graph. Darst. 23 cm |
| ISBN: | 9783941531918 3941531913 |
Staff View
MARC
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| 264 | 1 | |a Bergkirchen |b PPV Medien |c 2015 | |
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Record in the Search Index
| DE-BY-862_location | 2000 |
|---|---|
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| DE-BY-FWS_katkey | 573233 |
| DE-BY-FWS_media_number | 083000512958 |
| _version_ | 1824553503365791745 |
| adam_text | Inhalt
Inhalt
Einleitung.................................................................10
1. Digitaltechnik.........................................................12
1.1 Was hat das alles mit Musik zu tun?...................................12
1.2 Analog-Digital-Wandlung...............................................12
1.3 Wozu digitalisieren?.................................................... 13
1.4 Probleme der analogen Audiotechnik....................................13
1.5 Jetzt wird s digital..................................................14
1.6 Pegel..................................................................14
1.7 Abtastung............................................................ 14
1.8 Codierung............................................................ 15
1.9 Dynamik.............................................................. 16
1.10 Digital-Analog-Umsetzer(DAU)......................................... 16
1.11 Höhere Samplefrequenz.................................................16
1.12 Höhere Bit-Rate.................................................. 17
1.13 Sample-Rate-Konvertierung und Truncation...............................18
1.14 Fehlerkorrektur........................................................ 19
1.15 Digitale Audioformate.................................................19
1.16 Verlustfreie Formate...................................................20
1.17 Verlustbehaftete Formate...............................................20
1.18 Digitale Schnittstellen.............................................. 22
1.19 Multi Channel Audio Digital Interface (MADI)......................... 22
1.20 Synchronisation.......................................................22
2. MIDI (Musical Instrument Digital Interface)............................25
2.1 Grundsätzliche Anwendungen.............................................25
2.2 Technische Grundlagen..................................................25
2.3 MIDI-Out...............................................................26
2.4 MIDI-In................................................................26
2.5 MIDI-Event.............................................................27
2.6 Die wichtigsten MIDI-Befehle...........................................27
2.7 Was der Velocity-Wert alles kann.......................................28
2.8 Aftertouch.............................................................28
3
Das neue digitale Tonstudio
2.9 Sustain-Pedal..........................................................28
2.10 Portamento (Glide).................................................. 28
2.11 Pitch-Wheel.............................................................29
2.12 Modulation-Wheel...................................................... 29
2.13 Ribbon-Controller.......................................................29
2.14 Controller-Daten.................................................... 29
2.15 Step-Sequencer........................................................ 30
2.16 MIDI-Sequencer..........................................................31
2.17 Editieren von MIDl-Daten................................................32
2.18 Pianorolle..............................................................33
2.19 Event-Liste.............................................................34
2.20 Noten-Darstellung..................................................... 35
2.21 Ml Dl-Effekte......................................................... 36
2.22 Audio to MIDI......................................................... 37
2.23 Geschichte der MIDf-Computer............................................37
2.24 System-Exclusive-Daten (SysEx)..........................................38
2.25 Synchronisation, SMPTE-Timecode, MIDI-Timecode und MIDI-Click...........38
2.26 MIDI-Timecode (MTC).....................................................38
2.27 MIDI-Clock............................................................ 38
2.28 Guitar-to-MIDI-Converter................................................39
2.29 MIDI-Controller................................................... 40
2.30 Vorteile von MIDI................................................... 40
2.31 Nachteile von MIDI......................................................41
3. Digital Audio Workstation (DAW).........................................42
3.1 Die Power............................................................. 42
3.1 RAM................................................................. 43
3.2 Festplatten..................................................... 43
3.3 PC oder Mac......................................................... 43
3.4 Soundkarte ......................................................... 43
3.5 Software........................................................ 44
3.6 Sequencer-Programm................................................ 46
3.7 Haupt-Arrangement-Fenster...............................................46
3.8 Virtuelle Bandmaschine -Transport-Fenster............................. 49
4. Aufnahme und Bearbeitung von Audiosignalen..............................51
4.1 Aufnahme-Latenz....................................................... 51
4.2 Editieren derAudio-Daten (Cropping)................................... 52
4
Inhalt
4.3 Normalisieren...........................................................53
4.4 Audiodaten trimmen und quantisieren................................. 53
4.5 Fade-In, Fade-Out.......................................................54
4.6 Reverse-Wiedergabe ................................................... 54
4.7 Invertieren......................................................... 55
4.8 Ändern der Wiedergabegeschwindigkeit....................................55
4.9 Pitchen......................................................... ....56
4.10 Störgeräusche beseitigen................................................57
4.11 Silencer................................................................58
4.12 Bouncen.................................................................58
5. Virtuelles Mischpult....................................................59
5.1 Kanalzug.............................................................. 59
5.2 Panorama................................................................60
5.3 Routing......................................................... 60
5.4 Bus-Send und Subgruppen.................................................61
5.5 Link-Funktion.................................................. .....62
5.6 Equalizer........................................................... 62
5.7 Input-Sektion...........................................................62
5.8 Mischpult-Automation.................................................. 62
5.9 Insert............................................................. .64
5.10 Noisegate........................................................... 65
6. Effekte......................................................... 66
6.1 Reverb............................................... .........66
6.2 Space Designer von Logic Pro X..........................................67
6.3 Delay-Effekt (Echo).....................................................69
6.4 Delay Designer........................................................ 69
6.5 Modulationseffekte.................................................... 71
6.6 Pitch.......................................................... .....72
6.7 Stutter-Effekt................................................... .....74
6.8 Psychoakustische Effekte............................................ 75
6.9 Verzerrer (Distortion)................................................ 75
7. Anzeigeinstrumente......................................................77
8. Master-Sektion..........................................................78
5
Pas neue digitale Tonstudio__________________________________________________
9. Shortcuts.......................................................... 79
10. Tools................................................................79
11. Synthesizer..........................................................80
11.1 Software-Synthesizer.................................................80
11.2 FM-Klangsynthese (Frequenz-Modulation)...............................83
11.3 Sample-Synthese......................................................84
11.4 Granular-Synthese.......................................... ....85
11.5 Virtuell-Analoge Synthese............................................86
11.6 Subtraktive Synthese............................................... 86
11.7 Additive Synthese....................................................88
11.8 Wavetable-Synthese................................................. 89
11.9 Physikalische Modellierung (PM) .....................................89
11.10 Effekte..............................................................89
12. Virtuelle Drums......................................................94
12.1 Drumcomputer-Historie................................................94
12.2 Sample-Player........................................................94
12.3 Drum-Software.................................................. 96
12.4 Ultrabeat aus der Logic-Pro-Software.................................96
12.5 Stylus von Spectrasonics........................................... 97
12.6 Battery 4 von Native Instruments.....................................98
12.7 Maschine von Native Instruments.................................... 99
12.8 Virtuelle Schlagzeuger..............................................100
12.9 Virtual Drummer aus der Logic Pro Software..........................100
12.10 Steinberg Groove Agent SE...........................................103
12.11 LoopMash 2 aus der Cubase-Software................................ 104
12.12 Hardware-Drum-Machine........................................... 106
13. Zwölf Tipps zur Musikproduktion mit einer DAW.......................108
14. Auswahl der richtigen DAW......................................... 114
14.1 Cubase 8 von Steinberg..............................................116
14.2 Pro Tools 11 von Avid...............................................119
14.3 Logic Pro X von Apple........................................... 123
14.4 FL Studio 12 von Image-Line.........................................125
6
Inhalt
15. Digitales Mastering...............................................127
15.1 Vorbereitung.....................................................127
15.2 Equalizer.................................................... .127
15.3 Regelverstärker/Dynamics................................ ......131
15.4 Kompressor.......................................................132
15.5 Muitiband-Kompressor.......................................... 133
15.6 Limiter..................................................... 134
15.7 Loudness-Maximizer...............................................135
15.8 Exciter................................................. ..136
16. Digitale Restauration, Remastering................................138
17. Audio-Editing und Mastering-
Software Steinberg Wavelab 8.....................................141
18. Einige bekannte Software-Hersteller...............................142
18.1 Brainworx-Music...................................................141
18.2 ¡Zotope...........................................................143
18.3 Celemony Melodyne.................................................144
18.4 Native Instruments (NI)...........................................145
18.5 Universal Audio...................................................146
18.6 Voxengo...........................................................147
18.7 Waves ............................................................147
18.8 Sonnox............................................................148
18.9 Sound Performance Lab (SPL).......................................148
19. Digitale Hardware und Controller..................................149
20. Virtuelle Gitarrenverstärker - Amp Modeling.......................151
20.1 Pod von Line 6....................................................152
20.2 Guitar Rig von Native Instruments.................................152
20.3 Eleven Rack von Avid..............................................153
20.4 AxeFX II von Fractal Audio........................................154
20.5 Profiling Amplifier von Kemper....................................154
7
Das neue digitale Tonstudio
21. Workstation: Korg Kronos.........................................156
22. Analoges Equipment..............................................159
22.1 Monitorboxen.....................................................160
22.2 Mikrofon.........................................................161
22.3 Mikrofon-Vorverstärker...........................................162
22.4 Analoge Equalizer................................................163
22.5 Analoge Kompressoren.............................................164
22.6 Analoge Summierer................................................165
23. Produktionsbeispiel..............................................166
23.1 Guide-Spuren (Gesang und akustische Gitarre)....................167
23.2 Umgehung der Latenz.......................................... 167
23.3 Aufnahme des Basses........................................... .168
23.4 Aufnahme der ersten Gitarren................................. 169
23.5 Keyboards.................................................... 170
23.6 Verfeinerung der Drums...........................................170
23.7 Akustische Gitarren................................................171
23.8 E-Gitarren in derStrophe........................................171
23.9 E-Gitarre im Refrain........................................... 172
23.10 Gitarrensolo................................................. 172
23.11 Gesangsaufnahme......................................... ...172
23.12 Arrangement und Philosophie......................................173
23.13 Mixdown ................................................... 173
23.14 Feinabgleich......................................... 176
23.15 Mastering................................................ 176
Nachwort...............................................................177
Über den Autor..................................................... 177
Glossar................................................................179
Index..................................................................186
8
|
| any_adam_object | 1 |
| author | Noltemeyer, Stefan |
| author_GND | (DE-588)1023718383 |
| author_facet | Noltemeyer, Stefan |
| author_role | aut |
| author_sort | Noltemeyer, Stefan |
| author_variant | s n sn |
| building | Verbundindex |
| bvnumber | BV042529347 |
| classification_rvk | AP 38200 ZN 6820 |
| ctrlnum | (OCoLC)909998536 (DE-599)DNB1036939731 |
| discipline | Allgemeines Elektrotechnik / Elektronik / Nachrichtentechnik Musikwissenschaft |
| format | Book |
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| id | DE-604.BV042529347 |
| illustrated | Illustrated |
| indexdate | 2025-02-20T06:36:54Z |
| institution | BVB |
| isbn | 9783941531918 3941531913 |
| language | German |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027963603 |
| oclc_num | 909998536 |
| open_access_boolean | |
| owner | DE-1050 DE-19 DE-BY-UBM DE-12 DE-210 DE-862 DE-BY-FWS DE-739 DE-83 DE-29T DE-858 DE-70 |
| owner_facet | DE-1050 DE-19 DE-BY-UBM DE-12 DE-210 DE-862 DE-BY-FWS DE-739 DE-83 DE-29T DE-858 DE-70 |
| physical | 192 S. Ill., graph. Darst. 23 cm |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | PPV Medien |
| record_format | marc |
| spellingShingle | Noltemeyer, Stefan Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] Musikproduktion (DE-588)4235850-4 gnd Tonstudio (DE-588)4417153-5 gnd Digitale Audiotechnik (DE-588)4140447-6 gnd Tonstudiotechnik (DE-588)4135823-5 gnd |
| subject_GND | (DE-588)4235850-4 (DE-588)4417153-5 (DE-588)4140447-6 (DE-588)4135823-5 |
| title | Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] |
| title_auth | Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] |
| title_exact_search | Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] |
| title_full | Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] Stefan Noltemeyer |
| title_fullStr | Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] Stefan Noltemeyer |
| title_full_unstemmed | Das neue digitale Tonstudio [kreativeres Musikmachen mit perfektem Sound] Stefan Noltemeyer |
| title_short | Das neue digitale Tonstudio |
| title_sort | das neue digitale tonstudio kreativeres musikmachen mit perfektem sound |
| title_sub | [kreativeres Musikmachen mit perfektem Sound] |
| topic | Musikproduktion (DE-588)4235850-4 gnd Tonstudio (DE-588)4417153-5 gnd Digitale Audiotechnik (DE-588)4140447-6 gnd Tonstudiotechnik (DE-588)4135823-5 gnd |
| topic_facet | Musikproduktion Tonstudio Digitale Audiotechnik Tonstudiotechnik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027963603&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT noltemeyerstefan dasneuedigitaletonstudiokreativeresmusikmachenmitperfektemsound |
Indexes
THWS Schweinfurt Zentralbibliothek Lesesaal
| Call Number: |
2000 ZN 6820 N798 |
|---|---|
| Copy 1 | ausleihbar Available Place a Hold |