Garritan steinway basic 什么
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- #Garritan steinway basic 什么 software#
- #Garritan steinway basic 什么 code#
- #Garritan steinway basic 什么 Pc#
It had a wonderful notation section which was really comfortable to work with for us old notation-based guys.
#Garritan steinway basic 什么 code#
Audio was handled separately by the Akai DR4d machines using time code synchronization. It was only capable of recording and editing the MIDI data, not audio. A portion of the track window is shown above.
#Garritan steinway basic 什么 software#
The above screenshots may look hideously primeval now but C-Lab's Notator (and later Logic) software for Atari was among the best available in the early 90s.
#Garritan steinway basic 什么 Pc#
Recent work was done on PC using Sonar software for both sequencing and audio. Exchange PC's using Emagic Logic in place of Atari/Notator from 1997 to 2002.
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The categories below are fuzzy at best - lots of cross-pollination, which also happens to be the story of my life! The music was written and the recordings mixed between 1991 and the present using the technology available at the time of actual composition (with a great many modifications on my part.) "Technology available at the time of composition" usually meant Atari computer, C-Lab Notator software,and time code synchronization to two Akai DR4d hard disc recorders as described on the Vocal-Free Zone page for pieces prior to 1996.
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Improvisation sometimes plays a significant role. They incorporate jazz and 20th century classical techniques such as polytonality, quartal harmonies, and occasional non-formal serialism while still remaining primarily tonal in nature. In comparison to the commercial projects I worked on, the following pieces are characterized by their far higher creative content and decidedly greater complexity while often imposing considerably higher demands upon the listener. These compositions represent some of my favorite musical accomplishments. but your eyes would probably glaze over and you might start nodding off so let's just say: The music below is the Good Stuff and the fact that it didn't add much to my bank account was a small price to pay for the personal satisfaction its creation has engendered. Which highlights an important Art versus Craft distinction that I could expand upon at length. To its credit.īelow are links to a variety of examples of rather eclectic music I have composed, performed, programmed, and recorded for purely artistic reasons. The result being music which was, for me, both intellectually satisfying and, at the same time, utterly devoid of any commercial potential whatsoever! Not even a tiny bit. I relished the creative freedom to write anything I wished without the encumbrance of commercial considerations. I received an attractive discount for large quantities of fettering and I kept it in an old shackle out back. "Fettering" was reserved exclusively for commercial work. This page is dedicated to the unfettered personal projects I managed to fit in between the commercial assignments I was doing. It wasn't until the early '80s and, especially, the introduction of MIDI that I began concentrating strongly on the areas of composition, arranging, and orchestration.