social

Geocaching

Ob in verlassenen Kasernen, einem mächtigen Baum im Wald oder unter der Bank in Ihrem Lieblingspark: Geocaching führt Sie an verborgene Orte und zeigt Bekanntes aus neuen Perspektiven. Die Schnitzeljagd via GPS-Gerät ist nun schon seit einigen Jahren eine der beliebtesten Freizeitaktivität geworden. Einfach die Koordinaten aus dem Internet eingeben und schon geht die Suche los.

Geocache

Üblicher Geocache

Das Wort Geocaching entstammt dem griechischem Wort “Gē” für “Erde“ und dem englischen Begriff “Cache”. Die auch als GPS-Schnitzeljagd bekannte Freizeitaktivität ist eine Art elektronische Schatzsuche. Die platzierten Geocaches werden ursprünglicher Weise anhand geografischer Koordinaten im WWW veröffentlicht und können/sollen dann mit Hilfe eines GPS-Empfängers gesucht und gefunden werden. Landkarten helfen bei diesem Vorgang.

Der Geocache selbst ist ein wasserdichter Behälter, in dem sich ein Logbuch sowie verschiedene kleine Tauschgegenstände befinden können. Zum Dokumentieren seiner Suche, kann der Finder kann sich in das gefundene Logbuch eintragen. Anschließend muss der Geocache wieder an der Stelle versteckt werden, an der er gefunden wurde. Der Fund kann und sollte im Internet auf der zugehörigen Webseite vermerkt und am Besten noch durch Fotos aufgewertet werden. Durch dieses Vorgehen kann jede weitere Person, besonders der Eigentümer, das Geschehen am und um den Geocache verfolgen. Wichtig beim Suchvorgang ist, dass das Vorhaben von Anderen nicht erkannt wird und der Cache weiterhin verborgen bleibt und so auch nur von engagierten Geocachern gefunden wird.

Persönlich war mein erstes Geocacheerlebnis 2001 absolut begeisternd. Ich empfinde heute immer noch den selben Spass beim Geocachen, Suchen und Finden wie damals. Am Wochenende einfach mal raus in die Natur und lossuchen. Herrlich entspannend und beruhigend. Geocaching ist für jung und alt genau das Richtige wenn Sie interessante Schnitzeljagden, Suchen mit Hilfe moderner Technologie und den Aufenthalt in der Natur mögen.

Geocache_1

geocache karten weltweit

Je mehr Geocaches man findet, desto besser wirt man die verschiedenen Elemente verstehen, die eine große und schöne Geocaching-Erfahrung ausmachen. Diese Erfahrungen und Erkenntnisse werden von unschätzbarem Wert sein, wenn Sie mal einen eigenen Geocache verstecken wollen und machen es wahrscheinlicher, dass Ihr Geocache von der Geocache-Community als gut und wertvoll empfunden wird. Ich ermuntere dazu, selbst mindestens 15 Geocaches zu finden, bevor man beschließt einen eigenen irgendwo zu verstecken.

Was sich hier erstmal nach einem komplizierten Hobby für Naturliebhaber und Navigationsspezialisten mit Überlebens-Ausbildung anhört, ist ein wirklich unkompliziertes Vergnügen für jedermann, ganz egal welchen Alters oder welcher Vorkenntnisse. Die allgemeine Schwierigkeit besteht in dem Begehen des Weges selbst, vor allem die letzten Meter vor dem Finden. Cacher verstecken ihre Schätze an den aberwitzigsten und verrücktesten Stellen. Dafür haben heute auch schon viele moderne GPS-Geräte einen speziellen Geocaching-Modus. Nützlich sind natürlich all die Webseiten, welche alle Geocaches auflisten. Weltweite Karten, ebenso wie Landkarten nur für Deutschland finden Sie hier und unten bei den Links am Ende des Artikels.

Wenn ich ihr Interesse geweckt habe, finden Sie weitere Informationen, weltweite Karten und tolle Beiträge hier:

http://www.geocaching.de/

http://en.mapatlas.org/

http://www.geocaching.com/

http://www.opencaching.de/

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homerecording, music

Monocasual has updated Giada Loop Machine to version 0.7.2, codename 0x90323F00.

Changes:
Initial MIDI output support on multiple channels (1-16);.
Complete rewrite of the VST GUI part on OS X: better design, more stability, less/no crashes;.
Many improvements on the internal MIDI routing;.
Bugfixing and cleanups.

http://www.giadamusic.com/

 

giada-loop-machine-screenshot-11

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team
social

Teamwork Building für Unternehmen

Teamarbeit

Teamarbeit ist der Schlüssel zum Erfolg eines jeden Unternehmens. Heute ist es für die Unternehmen erforderlich geworden, sich mit gutem Kollegium oder kooperativer Arbeitskraft zu umgeben. Deshalb fragen Firmen bei Vorstellungsgesprächen hauptsächlich nach Sozialkompetenz (Teamarbeit). Teamarbeit bedeutet nicht nur Arbeit leisten, sondern innovative und kreative Ideen suchen und verwirklichen. Teamarbeit spielt eine große Rolle für die Entwicklung der Firma sowie der Mitarbeiter.

teamwork

Teamwork building

Um Teambuilding zu fördern, ist ein Zusammenspiel verschiedener Kriterien ( z.B. Wanderung, Ausflug, Einstiegsprojekte wie Werbefilme) hilfreich. Eine neue interaktive Plattform bezüglich „Teamwork building“ steht Ihnen unter SFW-Media zur Verfügung. Hier können Sie „Teambuilding Maßnahmen“ und Events finden und sie in Anspruch nehmen.

Filmproduktion

Kurzfilme und Werbungsprojekte sind Bereiche, in denen man mit Interesse und Phantasie arbeiten kann und seine innovative Ideen mit der Zustimmung von anderen Kollegen verwendet und ausbaut. Filmproduktion weckt kreative Begeisterung und ist motivierend. Man kann Ideen sammeln und die Einstellung zur Firma ergründen. Selbst entwickelte Werbespots unterstützen nicht nur den Teambildung-Prozess, sondern ermöglichen zusätzlich Einblicke in das interne Firmenbild.

Teambildung Maßnahmen/Events

Gewinnbringend ist es, wenn das Unternehmen während des Trainings einige Teamwork Building Ereignisse oder Events in Anspruch nimmt, damit alle Kollegen miteinander motiviert werden und in guter Laune und Stimmung zusammenarbeiten.

Die Firmen können das Potenzial ihrer Mitarbeiter durch die Förderung der Teamarbeit steigern. Internet Kommunikation, strategische Leistungen und reger Informationsaustausch steigern die Leistung der Mitarbeiter. Motivation spielt eine große Rolle bei der Steigerung der Teambildung. Mitarbeiter sollen für die Zusammenarbeit motiviert werden, damit die Firmen die Produktion verbessern und vergrößern können.

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Teambildung Incentive

Jede Firma möchte gewinnbringende Führungskräfte einsetzen und um dieses Ziel zu erreichen, muss jede Firma Antriebe bieten. Zum Beispiel Förderung in der Arbeit, Ausflüge, Lob und Anerkennung. Die Unternehmen könnten ihren Mitarbeitern zum Beispiel einen Familien Urlaub bieten. Auf diesem Wege sichern sich die Firmen gewinnbringende und leistungsfähige Führungskräfte.

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homerecording, music

Reason 7 is out!

…and I nearly missed it. That said, you might know already: I am not using Reason at all. Didn’t like it when it was called Reason 4 and did not touch it since then.

That might change now. A friend of mine is a passionated Reason fan and he rewires each track/instrument in Reason to Reaper. I am not sure he still need to do that. Lets have a look at the information Propellerheads is giving us on their website:

Instruments and effects

The instruments and effects in Reason all look, feel and sound like their real world counter parts. The instruments don’t come with hidden sub menus and cryptic interfaces. Everything is there in plain view for you to use.

At the heart of Reason is its virtual rack with all the tools you need to turn your ideas into music. You build your rack as you create your song. Synthesizers, drum machines, samplers and studio effects – add as many as you need. Reason automatically connects everything as you add more devices to the rack. If you want to dive in the deep end, flip the rack around and get access to all the cables and connectors so you can wire things up exactly as you like.

Rsn Main Rack

Rsn Main Rackextensions

Looking for more creative options, take a look at Reason’s Rack Extensions – instruments and effects add-ons from Propellerhead and third party developers. This is not another plugin format – Rack Extensions are full Reason rack citizens, giving you the same great experience as any other Reason device. Load them in Combinators, route cables on the back, automate all parameters, and experiment with the safety of undo. Browse and purchase all Rack Extensions in the Propellerhead Shop, and even download fully functional trial versions to load into your rack.

Sequencing and recording

In sync with your flow, always adapting to you and your working methods, Reason’s sequencer simply gets you there faster.

Record, program and arrange your music in Reason’s sequencer. Fast and intuitive to use, yet with all the powerful editing features you want, Reason’s sequencer is a joy to use. An audio channel or instrument gets its own dedicated track, with separate lanes for audio, notes, performance and automation data, opting for a better overview and less clutter.

Rsn Main Sequencer

Rsn Main Stretch

The keyword is flexible and transparent. With Reason’s legendary non-destructive time stretch, you can record first and pick the tempo later. Reason automatically slices recordings and imported audio into single notes or hits. Use it to quantize an audio take, to tweak your timing to perfection, or to drastically change the recording. The sliced up audio can also be converted to REX files for playback and further sound designing treatment in Reason’s Dr. Octo Rex Loop Player, Reason’s samplers, or the Kong Drum Designer.

Big studio sound

Give your tracks that million dollar sound with Reason’s studio grade mixing console.

Add that big studio sound to your productions, courtesy of Reason’s fully equipped mixing desk, faithfully modeled after* the legendary SSL 9000k console. With full dynamics, EQ and effects handling on every channel, the Reason mixer will be your weapon of choice to tap into the clarity, punch, and analog characteristics of your favorite records… and we haven’t even mentioned the master bus compressor yet.

Rsn Main Mixing

Rsn Main Masterbus

The SSL* master bus compressor has long been famous for its ability to glue mixes together. Apply this analog magic to your master mix buss, and enjoy the warm compression that you’ve been hearing on classic mixes for the past 30 years. Your drums will gain punch, your bass more warmth, and your sound more intangible sparkle. Reason’s mixer doesn’t just balance your levels… it shapes your sound.

Reason 7

Reason has a rack for instruments, mixing and to inspire.

Reason 7 brings tons of new improvements for the mixer, the rack and the sequencer. Integrate your instruments into Reason with MIDI out, audio slicing and audio quantize. Turn your recordings into REX loops. For mixing, we’re introducing a spectrum analyzer with visual EQ, group and parallel channels and workflow improvements. To inspire, Reason 7 imports audio from your music library and web formats, the enhanced Factory Sound Bank comes fully loaded with tons of new loops and drum kits and the new Audiomatic Retro Transformer effect adds a futuristic-vintage sound to any tracks.

Learn more about what’s new in Reason 7 or buy Reason now.

Rsn Main Version7

Rsn Main Essentials

Reason Essentials

Reason Essentials 2 is a free upgrade for all owners of Reason Essentials, bringing audio slicing and quantizing to the sequencer. Create REX files from your recordings directly in Reason Essentials. Import audio files from your music library and the web with improved file format support. Workflow enhancements in the rack and sequencer make writing, producing and mixing music in Reason Essentials even faster, easier and more fun. Learn more about Reason Essentials

* All product names used are trademarks of their respective owners, and in no way constitutes an association or affiliation with Propellerhead Software. The SSL and/or Solid State Logic trademarks are solely used to identify the products whose sound was studied during Propellerhead Software’s sound modeling development. The trademarks SSL and Solid State Logic are owned by Red Lion 49 Limited.

 

Looks good to me. I will give it a try when I am at the homestudio of my friend.

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music

Avid introducing Pro Tools 11

Avid news: Pro Tools 11 is coming.

Offline bounce, new metering options, work directly with HD video, turbo-fast with all-new Avid Audio Engine. I am excited to use this flag ship of audio-editing.

pr tools 11 features

pro tools 11 features

The so called ‘most powerful digital audio workstation’ (I think this is not PT but Cockos Reaper cause it is much more adjustable and flexible) just got even more powerful. With an all-new, ultra-efficient audio engine, 64-bit performance, and groundbreaking capabilities, Pro Tools 11 enables you to take on the most complex and demanding music and audio post productions with ease, so you can focus on sounding your best.

  • Get exponentially more processing power than Pro Tools 10 using the same hardware
  • Create bigger, more complex sessions, without holding anything back
  • Experience ultra-low latency record monitoring without sacrificing plug-in performance
  • Play and edit a wide range of HD video formats right in the Pro Tools timeline

You can get a complimentary Pro Tools 11 upgrade (once it’s available) when you buy, upgrade, or crossgrade to Pro Tools 10 on or after April 7, 2013 and register your purchase.

ProTools11_Feature3_enlarge

http://apps.avid.com/protools11/

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music

Interview with Amir Vinci from Waves Plugins

Everyone knows Waves. That company with the big plugins packs all over any share or p2p network you can find on the net.
Some say they sound shit, some say the sound nice, some say their code is shit, some say their UIs are nice….

element

No matter what, they have the biggest allround plugin packs & you will find them in any studio around the world.
Reason enough to have a look at them or check out their discounts as they change their politics from being highly overpriced to a fairly normal studio plugins price range.

That is not all. After being founded 1992 Waves was one of the first plug-in companies to deliver plug-ins for not only the Digidesign TDM System. In the last 20 years they have stretched the possibilities of effects processing while maintaining a consistently high level of quality. In 2010 they introduced SoundGrid, now at this years NAMM they introduced DigiGrid, a series of products developed in a strategic alliance with DiGiCo.
In early 2012 they received a Technical Grammy from NARAS, along with Roger Linn. Wont be the last price they get for being productive in the Audio world! THX WAVES!

worktools_waves

Today we will link you to a nice and informative interview with Amir Vinci, the Senior Product Manager at Waves Audio Ltd.

If you are interested in reading what Amir has to say about the founding of waves, what drove him to join the company or what we can expect next from Waves Audio Ltd. click here.

What do you think of Waves compressors, eqs, delays, reverbs, modulation tools, synths, doublers? Do you use them? Let me know!
If you feel like you need to learn how to use waves plugins, click here.

iRig Mic - Handheld Microphone for iPhone, iPod touch & iPad

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music

How to use Delay?

…and:

What is a Delay?

A delay is an audio effect which plays back a part of an audio sample again after a period of time.

Tape delay

During the late 50s – 60s everybody used tape delays. Early models used preamp tube circuitry that added some ‘warmth’ to the sound.

On reel-to-reel magnetic recording systems it was easy to achieve a delay effect by shortening or lengthening the loop of tape and adjusting the read and write heads.

Tape in general has warm and natural sounding delay repeats, which are set by distance changes between the record and playback heads and returning the sound back into the record head multiple times to generate multiple delays.

Tape delay can handle long delay times and it creates a musical effect through “wow & flutter” from the tape itself which is why a lot of people tend to prefer tape delays.

Famous hardware found in studios: Echoplex, Boss RE series, Fulltone TTE, Watkins Copicat

Analog delay

Tape delays are 100% analog but most of the time you will see a difference between tape and analog when listing delays. Analog delays make use of capacitors to store and move an input signal along a line of capacitors. No tape needed. The sound will then be played back the desired number of times. The advantages over tape are much lower costs, more durable construction, and a smaller footprint. Spinning magnetic discs or a rotating magnetic drum were used inside this gear. Analoge delays show a treble loss which degrades with each repeat. This effect gives analog delays their warm sound, and a more natural sound.

Solid state comes up with a bucket brigade delay in the 70s as a mainstream alternative to tape echo.

analog delay

Digital delay

Nowadays you see them everywhere and every homestudio should have a magazin of useful delay plugins or digital hardware.

The first available digital delay effects in the late 1970s (First was made in 1976 I think) and 1980s were only available in big, expensive rack mounted units which gave this time music a special character.

The first digital delay build in a pedal was the Boss DD-2 in1984. The big rack mounted delay units from that time evolved fast into digital reverb units and multieffects units capable of more sophisticated effects than pure delay, such as reverb and Audio timescale-pitch modification effects.

Digital delay systems samples the input signal through an AD converter, after which the signal is processed and stored into a storage buffer. Now you as user can play back the stored signal due to set up parameters. The processed signal can be mixed with the original dry audio to get the effects you like.

Most systems today have filters and effect mix abilities. Time, onset, level, reverse, pitch and much more of the processed signal can be adjusted in relation to the unmodified audio.

Lexicon, Roland, TC Electronic are 3 of the big names you should remember when it comes to digital reverbs.

16-Second-Digital-Delay-lg

When to use what?

Digital delays cut through the mix much better and analog has a natural and warm sound.

They cover different aspects and needs.

For most people the basic difference between analog and digital delay is the clarity of the delayed sound. Digital delays make the repeated sound more like the original signal. Analog delays aren’t as clear as they cut of the highs very fast. The signal gets more distorted and more dark with each repetition.

Which one you like more, and for what application it is better, is a matter of taste and preference. I like analog delays a lot on ambience and urban sounds. Digital delay have a rich, clear quality to them which some people like, some people don’t.

How to use a delay?

First lets deal with some parameters and see what they stand for.

Mix/Level - Controls the effected signal and mix it with the dry (unaffected) signal. 100% wet means only processed signal comes through and no original signal anymore.

Feedback – More feedback means more repeats. Sometimes this is labeled as percentage, db or ms. Is this set to 0 or none, it means it is only 1 time delay.

Time – Delays can be set up to notes (1/2, 1/4, 1/8, 1/16, 1/32, …), can be dotted or tripled and for sure they can be set to any ms you like. Some delay units allows to tap the tempo

Type - On some units, plugins or pedals you can choose from different delay modes like classic and modern delay or clean, saturated, reverse delay, pitched delay, tape delay, dual delay, ping pong delay etc…

Rate/Modulation - Delays comes wigth a ‘chorus’ effect sometimes where you can set up the mod rate on your delays. You will end up detuning the repeated audio to give it a more distinct or vanished sound.

delay parameter

Some Tips and Tricks while working with delays:

Always sync to session tempo when working with note delay.

If you have, set up some saturation or distortion effect before or after the delay.

Cut of the high ends and low ends. (Try filtering everything under 500 Hz and above 9000 Hz for example)

Wide up the stereo by using different delay times right and left. Pan a send full to the site or just set up two different parameters in a stereo delay plugin. For example try left 1/8 and right 1/16. Or both sites with 1/4 but different length time or a few ms offset on one site. Try the swing feature provided by some plugins on only one site.

With a vst/au ‘tape delay’ plugin, try to set your delay time to 0 ms for a bit of that tape saturation sound on your track.

Always remember how to calculate your delay times: 60000ms/bpm=X ms/bar

When programming drums, set up a 1/4 Hi-hat or shaker and use two different delays left and right to transform it into a nice 1/16 or 1/32 groove.

Create ambience by using an 1/8 note repeat on one side and a 1/4 note on the other. Do a left to right cross feed to add more stereo to it.

You can hilite parts of your song by just bypass all delay on one phrase or bridge to let it set back in right after to produce a nice air-wide effect.

Make extensive use of parameter automation. Try to automate everything: amounts of repeat, filter frequency, delay times, dry/wet balance or delay bypass and you will give ‘live’ to your mixes and songs.

By programming the delay times while a sound is playing, you can get some weird pitch effects if you set the delay to fast automated changes.

If you get too much phasing or masking effects, try dotted notes for your delay time.

Pitch is a great effect to create some weird spaced out delay effects. Start with a 1/4 delay on an empty songpart and play with pitch automation on the delayed part.

Route other effects to your delay return channel. Try Chorus, Flanger or other modulation plugins.

 

 iRig KEYS - Universal MIDI controller keyboard for iPhone, iPod touch, iPad and Mac/PC

 

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