Brief History and Background of Synthesizers

Synthesizers are electronic instruments that are capable of producing a wide range of sounds, notes and effects. The sounds can either mimic very closely a real acoustic instrument or create an entirely new timbre. Because of this, synthesizers and electric keyboards are invaluable to bands who like to produce unique and interesting sounds. They are ideal for musicians who have a creative streak and like to experiment with different frequencies notes. They are also great for musicians who want a full band sound but want to play solo. In this way they can create and record all the instruments for their song to play along to on their own. Here is a brief history and background of modern synthesizers.
The very first synthesizer was built back in 1876 by Elisha Gray. However, the early prototypes were very different to what you get today and took many years to make it to the mainstream. It wasn't until 1964 that the first commercial synthesizer was introduced by Robert Moog. The development of synthesizers continued in the 1970s where the public saw the production of small, compact synthesizers that were portable and could synchronize with other electric instruments. During this time, forward-thinking bands were already experimenting with synthesizers to great success. Bands like the Monkees, Rolling Stones, The Doors, The Beatles and more had already started to play around with them and feature them on their albums starting in the 1960s.
While early synthesizers were analog, today they generate sounds through digital techniques. There are many different types of synthesis available as well, which can be a bit confusing if you are not familiar with the instrument. For example, the simplest form of synthesis is the sample-based synthesis. This involves taking a digital recording of an acoustic instrument and manipulating it as you play it back. Then there are more sophisticated forms of synthesis such as physical modelling which involves using a set of algorithms and equations to simulate real instruments.
Another integral part of any synthesizer is the ADSR envelope. This stands for Attack Decay Sustain Release. The ASDR takes into account the change in sound over time that musical instruments produce. For example, the attack and decay will have a significant effect on sonic character of the instrument. The ASDR envelope can be implemented into the synthesizer in a variety of ways such as by a discrete circuit or module or else implemented into the software. Synthesizers also use a variety of different control interfaces. While the most common and popular control is by fingerboards (keyboards), there are other controllers as well such as wind controllers, guitar-style interface, drum pads and music sequencer.

Pro Tools Ticks Timebase - The Essentials

Pro Tools software enables you to use two time-bases for your tracks: Ticks or Samples. This article will explain the basic idea behind Tick-based tracks and how it affects your sessions.
When you record audio into Pro Tools, the digital audio resolution is measured in samples. In a similar way, by default when you record (or edit) MIDI data, the resolution is measured in Ticks.
Just as audio regions on sample based tracks are tied to sample locations, MIDI data or regions are tied to specific Tick locations on tick-based tracks.
For example, when subdividing a bar of music using musical subdivisions, you might divide the single bar into four quarter notes, then divide it again into 8th notes, and then again into 16th notes. Using the various note values you have in music, you could sub-divide that bar of music a number of ways.
Pro Tools, on the other hand, sub-divides each bar using ticks. 960 ticks per quarter note to be exact. That's Pro Tools tick resolution.
So if you were to record a single MIDI event somewhere in the first quarter note of bar of music - it would fall on one of 960 available tick positions.
Relative vs. Absolute Positions
Each of the 960 tick positions on a Tick based track is located in a relative position to the other ticks. (Unlike the samples positions on a sample-based track which are fixed to absolute locations on the timeline.)
For example, a MIDI note located precisely on the first 8th note of bar X would be at tick position 480 (one half of 960) after the start of bar X. Now (and this is the key thing) if you changed the tempo of the session, that event will still be on the 480th tick position of bar X and will retain that 480 tick distance from the start of the bar.
KEY POINT: MIDI events on Tick based tracks retain their relative position to other MIDI events, regardless of changes to the tempo.
If the tempo speeds up, the MIDI events and moved closer together and therefore, play faster and earlier in the session. If the tempo slows down, the MIDI tick positions move further apart from each other and therefore play slower and later in the session.
At this point you may be thinking - big deal. MIDI plays back slower if you slow down the tempo and speeds up if you increase the tempo. Don't MIDI tracks always behave that way? And therein is the point of discussing ticks timebase: Yes - MIDI tracks follow tempo. But only when they are set to ticks timebase. Not when they are set to samples timebase.
In Pro Tools you can set the timebase of MIDI tracks to be either ticks (the default setting) or samples. This opens up a whole new way to work. Particularly when you also consider that audio tracks can be set to either Ticks or Samples timebase, too.
You can start experimenting with ticks timebase in Pro Tools on your own, using the following tips.
Tips for learning more about Ticks Timebase
A. Setting it up.

1. First, create a new session in Pro Tools.
2. Create an Instrument or MIDI track and record some MIDI data on it. Preferably some note that you can hear playing back.
3. Also, create an audio track with a few regions of audio on it.
4. Make sure you know what the starting tempo of the session is.

Once you've got those steps completed, try the following.
B. Using Default Timebase Settings

1. With the audio track set to the default Samples timebase, and the MIDI track set to the default Ticks timebase, adjust the session tempo.
2. Notice that the MIDI events on the MIDI track change as you adjust the tempo. But the audio regions on the audio track do not. They stay in position.

Important: Before proceeding, reset the session tempo to the starting tempo.
C. Using Non-Default Timebase Settings

1. Next, change the timebase of the audio track to Ticks
2. Set the MIDI track to Samples timebase
3. Play the session again and adjust the tempo.
4. Notice this time that the MIDI notes do not move but the audio regions do.

Final words
For now I hope that will give you a basic understanding of the ticks timebase and how setting your MIDI tracks to ticks or samples timebase will change everything. Key point: tick based events are relative to each other and tick positions move with the session tempo.
Now that you know essentially how the ticks timebase affects regions and MIDI events, you'll need to explore how putting it use can help you to create better music, more efficiently. Keep at it!

RSS Feed XML RSS Feed RSS feeds allow you to be notified whenever brand new articles are released by your favorite authors. Google Yahoo NewsGator Bloglines MSN AOL My Favorite Dead Female Rock Star - Janis Joplin

Women in rock, an ever fascinating topic and when we come to dead rock stars we very often enter a world of glamour outside and rottenness inside, drug abuse, ecstasy followed by deep depression, orgies and all consuming hard work.
One of the most tragic life stories is that of Janis Joplin. Born 1947 in Port Arthur, TX she was found dead only 27 years later in a motel room near the recording studio in LA where she was recording her last album.
"Onstage, I make love to 25 000 people, then I go home alone" -- Janis Joplin
Her posthumously released cover of Kris Kristoffersen's -- Me And Bobby McGee hit #1 in US charts, and the album Pearl, containing Bobby McGee, Mercedes Benz -- an acapella first take recording -- and Buried Alive In The Blues -- the track that remained instrumental because of Janis´death -- was Janis Joplin´s greatest success.
Her previous release "Cheap Thrills", recorded with "Big Brother And The Holding Company" gave us some a deep insight into Joplin´s mind, deep desperation and unhappiness. "Piece Of My Heart", "Ball and Chain" and "Summertime" can make your flesh go all goose bumps, especially if you are already in a depressed mood. When Joplin moved to L.A. and joined the Holding Company she soon started to drink and drug, and within a year she was more or less ready for treatment in hospital and sanatorium. Instead of which she went out and staged one of the best live performances in rock history at the Monterey festival.
Joplin admitted more than once that her life had been deeply unhappy, but that eventually she had found an outlet in singing. Shortly before her death, Janis was back in Port Arthur for a high school reunion, and when asked in an interview, if she was popular in high school, she answered that her schoolmates "laughed me out of class, out of town and out of the state"
Janis Joplin has been an idol and figurehead for the gay movement ever since her death, although she was not homosexual. But her deep desperation about "being different", about not fitting in has communicated itself into her music, thus making it an expression of most gay persons´ experiences in early life.
About a month before she died, Joplin became engaged to Seth Morgan, a 21 year old Berkley student, drug dealer and poet. On the fourth of October 1971 she didn´t show up at the recording studio and was found to have died from an overdose of heroine.
What if Janis hadn't died that day, would we have lost a great singer to happiness?

Mumaith Khan Hot Photos

Mumait Abdul Rashid Khan was born on September 1, Abdul Rashid Khan, who is from Tamil Nadu, India and Pakistan citizen of Hasina Khan. She has four sisters, one of which is called Zabyn appeared in Telugu films in small roles.

Mumaith Khan Movie
Mumaith Khan is part of the dance troupe and got her big break in the paragraph number Dekh Le in Munnabhai MBBS (2003). It is also good in the blockbuster Pokkiri (2006), which established its name in southern Indian cinema, too.

Then she began to roles in films such as Lucky: No Time for Love (2005), chocolate (2005) and Fight Club: Members only (2006).

Khan has worked in Tamil and Telugu movies, and yoga (2007), Lakshmi Puthrudu (2008), Willie (2009) and Kanthaswamy (2009).
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