Audio mixing

tool: Pro Tools

Pro Tools is an audio creation and production software. With Pro Tools it is possible to compose, record, edit, and mix music or sound for picture — all within one system.
Features: 
Licence:
Methods relating to this toolCategory
Audio mixingPractice-led research
Music recognitionData capture
Sound analysisData analysis
Sound compressionData structuring and enhancement
Sound editingData structuring and enhancement
Sound editingPractice-led research
Sound encodingData structuring and enhancement
Sound encoding - MIDIData structuring and enhancement
Sound generationData capture
Sound generationPractice-led research
Sound recordingData capture
Sound recordingPractice-led research
Lifecycle stage:
Alternate tool(s):

Cubase, Reaper, Nuendo

project: What is Black British Jazz? Routes, Ownership, Performance

The ‘Black British jazz’ project (BBJ) explores the emergence of a distinct tradition within British music. BBJ melds reggae, hiphop, African music and US jazz into a rich, and constantly developing set of sounds. In documenting this musical hybrid, the project touches on important issues for the study of music – the transmission of cultural values, the social context of musical forms, and frameworks of ownership that impact on musical communities. [read more]

project: Musicians of Britain and Ireland 1900-1950

The project provides recordings of performances by British and Irish musicians made between 1900 and 1950. owing to changes in company policy in the 1930s, their work was gradually excluded and mush of it forgotten. MBI is accessible through an attractive online search interface that also gives access to the complete recorded output of the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM). [read more]

project: Centre for the History and Analysis of Recorded Music

Aims to promote the study of music as performance through a specific focus on recordings. Its activities include a major discographic project, seminars and research projects. Traditionally, music has been studied as a text reproduced in performance - almost as if it were an obscure kind of literature. By placing performance at the centre of musicology - by promoting a musicology based on recordings and not just scores - CHARM aims to reduce the gulf between musicology and the listener. [read more]

eventresources: The Future of Information Technology in Music Research and Practice

Report on the Methods Network workshop run by Dave Meredith, Goldsmiths College, University of London, 8 September 2006.

The goals of this workshop were:

  • To identify worthwhile goals for future inter-disciplinary projects involving collaboration between technologists and music researchers and practitioners.
  • To raise awareness among leading music researchers and practitioners of the ways in which technology can (and cannot) be used to improve musical research and practice.

eventresources: Dream Machines: The Intersection of Live Arts Practices and Game Engine Technologies

Report from the Methods Network workshop and seminar series organized by Jonathan Dovey at the University of Bristol (21 - 22 January 2008).

This workshop was at the intersection of live creative practices - dance, drama, music - and on-line worlds and other game related technologies such as Machinima (films created using game engine software). [read more...]

eventresources: Advanced Technologies for Collaborative Performance

Report from the Methods Network workshop run by Alan Blackwell and Ian Cross, CRASSH, University of Cambridge and Julio D'Escrivan and Richard Hoadley, Anglia Ruskin University, 20-21 December 2006. [read more...]

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