PowerTracks Pro Audio is a multi-track music sequencing and digital audio recording program, provided with a lot of features, such as The Audio Chord Wizard, which automatically and accurately figures out the chords from MP3/WMA/WAV audio files, the TC Helicon Vocal Harmonizer to add harmonies or pitch correct your audio tracks, and RealDrums which allows you to instantly generate audio drum tracks that are real recordings of drummers.
PowerTracks Pro Audio is a fully-featured music recording and editing sequencer, with seamlessly integrated digital audio/MIDI recording, notation, instant audio vocal harmonies, intelligent chord symbol interpretation from MIDI files, Dx Instrument and Plugins and more.
Powertracks Pro Audio 12
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MAIN 'MIDI' MUSIC WORKSTATIONS We only use a few but first-rate industry standard professional equipment, as we believe it is simply ultimately how well you can use the equipment that is the limit. YAMAHA is our preferred brand as having no shortage of anything, and for the brands legendary authenticity as well as the highest studio-quality audio output all through. Other quality brands includings KORG,MOOG,ROLAND are as well always available. Yamaha MIDI Synthesiser Studio workstations /DAW set1
Perform digital audio recording operations and access sequencing options. Automatically detect chords in music files and enable editing or optimization according to selected parameters. Work with files in such formats as MP3, WMA, WAV, etc. Save configurations.
Later, the more sophisticated Cakewalk Professional for Windows was released, Steinberg produced a Windows version of their popular Cubase application (originally released for the Atari ST platform), and Emagic launched a Windows PC version of their famous Logic sequencer. All went on to add audio features to their applications when PCs were finally fast enough to run multiple audio tracks, so we got to grips with these new functions, as we did with real-time plug-in effects when they first appeared, and then software synthesizers, software samplers, and so on.
Today, many PC musicians (even novices) think that they absolutely have to run flagship MIDI + Audio sequencers such as Cubase SX and Sonar 4, and this means that their very first music application provides unlimited numbers of MIDI and audio tracks, huge soft-synth bundles, real-time plug-in collections, soft samplers, sample editing, automation, support for surround sound, MIDI controllers, synchronisation for multiple PCs and video...
Some people buying these CDs couldn't hear any differences at all between audio recorded with different systems, while others who could declared them almost vanishingly small, even when monitoring through a good set of speakers in acoustically treated rooms. Moreover, those that claimed to reliably detect track differences couldn't agree about which one sounded better. I think we can conclude that simple level changes and mixing together of multiple audio tracks is fairly benign, whether carried out digitally or in the analogue domain, and that even budget audio applications shouldn't compromise this.
Software quality is far more important when more complex treatments are involved, however. EQ, reverb and other effects can easily sound harsh and unnatural if not well programmed. Fortunately, most PC host applications now support plug-ins in either VST or DX formats, so a budget host still needn't compromise your audio quality as long as you choose your plug-ins carefully and don't automatically assume that any bundled ones are up to scratch.
Well, in essence, Cubase SL loses the score layout/printing and surround-mixing functions of SX, while generally offering lower numbers of inputs, outputs and effects options. Scoring features are generally used by a minority of users who are classically trained or demoing orchestral work, and surround is still irrelevant to the majority of musicians, despite the fact that most of the major packages have added support for it. Moreover, how many times will you need more than the eight effects sends or five effects inserts per audio channel, 32 VST Instruments and 128 physical inputs and outputs of SL? Both versions support an unlimited number of MIDI and audio tracks at up to 32-bit resolution, and I suspect that the majority of Cubase SX users would scarcely notice the difference if they switched to Cubase SL.
Although Cubase SE loses rather more functions, such as the Logical Editor (how many SX owners have ever used this?) and support for 32-bit files, and it lacks the VST Instrument Freeze function, even this entry-level version supports up to 48 audio tracks plus unlimited MIDI tracks, as well as 16 VST Instruments. Of course, there are lots of other, smaller, differences, but I feel that a significant number of musicians still wouldn't find themselves too restricted. (A full PDF-format Feature Comparison Chart of all Cubase versions can be downloaded at www.steinberg.net. Follow the links for Cubase SL and then click on 'Additional Data' in the Helpful Links section.)
Some musicians buying an audio interface may not have to buy a Steinberg MIDI + Audio sequencer at all, since one of Steinberg's OEM (Original Equipment Manufacturer) entry-level products may be bundled with it. Emu and Terratec, for instance, have bundled Cubasis with their soundcard range in the past. I suspect that the new Cubase LE (OEM) version will take over from this in due course, with a feature set very similar to Cubase SE, except for a maximum of 64 MIDI tracks, about half the number of the various plug-in and VST Instrument slots, and the loss of MIDI insert plug-ins altogether. In my opinion, this is the only member of the family that would soon restrict most musicians, to encourage them to upgrade (see box, below).
If you have more modest requirements, Cakewalk's Home Studio range has quietly attracted many thousands of users, and won quite a few awards in the process. Not many people realise that the latest Home Studio 2004 Euro version, at just 79, is a thinly disguised version of Sonar 2, and therefore still extremely capable. Like its more expensive brothers, it supports an unlimited number of audio and MIDI tracks, DX and VST Instruments and plug-ins, but it doesn't have the new 'gapless' audio engine that lets you (for instance) insert plug-ins without interrupting the audio stream, the more flexible bussing arrangements, or the configurable Console View.
The most famous example is undoubtedly Propellerheads' Reason, just coming up to version 3 (version 2.5 was reviewed in SOS December 2003), but there are others with a similar self-contained approach, including Arturia's Storm and Cakewalk's Project 5. Reason 2.5 retails at 300, but is very highly regarded by many musicians for its versatility. Reason makes it easy to get tunes started and can produce superb-sounding tracks in the right hands, although it does lack an audio input for adding vocals. M Audio soundcards are also bundled with Reason Adapted, a limited version of Reason 1.0 with a special upgrade offer.
FL Studio (formerly Fruity Loops), from Image Line, is another virtual studio with a quick and easy pattern-based sequencer (plus a more traditional piano-roll editor for those who prefer that), sample playback and a large bundle of soft synths and plug-ins. The original Fruity Loops range was famed for its streamlined approach to dance music production but didn't support audio recording and playback. FL Studio added these features, and, while still not comparable with a full audio sequencer, the program now offers facilities for adding a few vocal or live instrument tracks to your songs.If you're more interested in a pattern-based approach to music making than in traditional recording techniques, take a look at loop products such as FL Studio.
Audio data tends to be more problematic. OMF is a platform-independent file format that lets you export and import a song's audio information with its audio files, so that it can be reassembled in the destination application, along with some fades and volume settings. However, you still have to be careful about audio file formats (see the Q&A section of SOS December 2004), and by far the safest approach is to use whatever facilities you have in the old package to convert each audio track into one long part lasting the entire length of the song. Save these as individual WAV files, and then you'll be able to easily load them into any other multitrack package and be sure that they all line up perfectly.
Like MIDI routings, audio ones will need to be re-created, as will software mixer settings, including channel levels, plug-in effects and automation data. If you find this prospect daunting, just think of it as a chance to remix the song. I've done this many times in the past when switching applications, and nearly always ended up with a better end result! 2ff7e9595c
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