BandLab: A Free Cloud-based Digital Audio Workstation (DAW) for Music Production

2021 ◽  
Vol 61 (1) ◽  
Keyword(s):  
Digital Audio ◽  
Music Production ◽  
Digital Audio Workstation

Tech You Will Need for Your Program

2021 ◽  
pp. 27-39
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Teachers ◽  
Music Technology ◽  
Digital Audio ◽  
Music Production ◽  
Creative Music ◽  
Wear And Tear ◽  
Digital Audio Workstation ◽  
Practical Recommendations

This chapter presents an optimal equipment list for establishing a creative music technology lab. While preservice music teachers are taught how to purchase and maintain instruments, they are rarely given equivalent advice for music production tools. This chapter provides practical recommendations for purchasing and maintaining hardware, software, and furniture, including computers, digital audio workstation software, headphones, MIDI controllers, microphones, tables, podiums, display screens, and soundproofing. Suggestions are given for arrangement and design of the overall space as well as design of individual workstations. The chapter also includes suggestions for managing wear and tear on equipment, for maintenance and cleaning routines, and for sustainable budgeting. Finally, for situations where the optimal setup is not immediately attainable, the various items described here are ranked in terms of priority.

scholarly journals Music Scoring for Film Using Fruity Loops Studio

2020 ◽  
Vol 188 ◽  
pp. 00004
Author(s):  
Arsya Febrian ◽  
Hestiasari Rante ◽  
Sritrusta Sukaridhoto ◽  
Akhmad Alimudin
Keyword(s):  
Digital Audio ◽  
Visual Form ◽  
Music Production ◽  
The World ◽  
Digital Audio Workstation

Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.

scholarly journals Learning the ‘tracker’ process: A case study into popular music pedagogy

2020 ◽  
Vol 4 (2) ◽  
pp. 211-235 ◽  
Author(s):  
Brendan Anthony ◽  
Paul Thompson ◽  
Tuomas Auvinen
Keyword(s):  
Popular Music ◽  
Digital Audio ◽  
Music Pedagogy ◽  
Online Technologies ◽  
Music Production ◽  
Digital Audio Workstation ◽  
Specialist Knowledge ◽  
And Performance ◽  
Professional Contexts

The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.

The Digital Audio Workstation

2017 ◽  
pp. 219-264
Author(s):  
David Miles Huber ◽  
Robert E. Runstein
Keyword(s):  
Digital Audio ◽  
Digital Audio Workstation

Songwriting with digital audio workstations in an online community

2020 ◽  
Vol 4 (2) ◽  
pp. 237-252 ◽  
Author(s):  
Matthew Clauhs
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Online Community ◽  
Music Teachers ◽  
File Sharing ◽  
Digital Audio ◽  
Google Docs ◽  
Music Production ◽  
School Music ◽  
High School Music

Digital audio workstations and online file-sharing technology may be combined to create opportunities for collaborations among many groups, including performing ensembles, music technology classes, professional songwriters and preservice music teachers. This article presents a model for a digitally mediated online collaboration that focuses on popular music songwriting activities in school and higher education settings. Using an example from a high school music production class that collaborated with an undergraduate music education course through Google Docs and a file-sharing platform, the author outlines steps towards facilitating partnerships that focus on creating music in an online community. Such collaborations may help remove barriers between our classrooms and our communities as music teachers leverage technology to develop relationships with creators and performers of popular music everywhere.

scholarly journals Electroacoustic Music and the Digital Future

2010 ◽  
Vol 13 (1) ◽  
pp. 21-26
Author(s):  
Barry Truax
Keyword(s):  
Digital Technology ◽  
Electroacoustic Music ◽  
Economic Situation ◽  
The Internet ◽  
Digital Audio ◽  
Artistic Practice ◽  
Digital Audio Workstation ◽  
The Creation ◽  
Definition Of

This article outlines the author's views on the contemporary social and economic situation of electroacoustic music and digital technology in general. The dominance of commercial interests in shaping the listener, the artist, and the definition of culture is examined. Issues associated with digital technology, such as standardization, de-skilling, and upgrades, are discussed with respect to artistic practice. It is argued that marginalized artforms such as electroacoustic music have benefited from the windsurfer availability of the digital audio workstation (DAW) for production and the Internet for distribution, but no analogous avenue exists for the creation of the consumer.

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