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Amy winehouse you know im no good download fileshare |
Amy winehouse you know im no good download fileshare
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Karaoke has one big advantage over other formats - it's very simple for end-users and users not having any experience at all are able to use it. Push a magic button and enjoy! But what if we want to edit or customize something in the backing track? Another interesting format is MIDI-karaoke. You can try to look for MIDI files of popular compositions in open sources. Midi-format does not contain any information about the timbre of sound played.
MIDI is an interface and it has been originally designed to store and transfer commands, such as when and how loud key is pressed, MIDI does not contain any complex phicysal characteristics of real-word's sounds.
MIDI supposes that you use so called software-hardware complex. Playing MIDI, hardware of sotware synth uses its embedded timbres to produce sounds.
You're limited by quality or a number of timbers of your synth. MIDI is strictly depends on the hardware where it was created. If you ever changed your synth, there's no warranty that you'll get a great sound on your new synth with you old midi-sources! You can try to open an existing midi-source in a sequencer such as Cubase, Fruity Loops, Pro Tools or any other , install all VST-instruments required, and only after then you'll get some meaningful result.
So, MIDI provides to you lots of opportunities to make a custom mix, but you have to be technically advanced enough to do it. Even if you're experienced already, customization with midi-sources takes a time, and it's a problem! The next two heroes of our story are such backing tracks created by cutting of original songs or produced with the help of existing voice removal tools. In the case of cutting, there're no difficulties it this thing. Open any editor Audacity, Sound Forge, Abobe Audition , select any fragment of an original song without voice and copy it again and again.
But problem is that the song's arrangements are very sophisticated sometimes and you'll not be able to find a good piece to copy-paste a bridge, for instance.
That is where the work of voice-removal and voice-reduction instruments. Let's look at what's happening with the sound when we apply voice-removal, why is this so ugly and your ears go numb when you listen to such phonograms. Voice removal tools make a new copy of an original mix where the vocal is looking like deleted with the help of phase inversion. Practically, yes. Not only lead singer's signal is destroyed this way!
Not only the main vocal but also other instruments are located in the center of stereo pan. These important instruments include bass and kick. While we increasing the level of phase inversion, distortions will appear inevitably and be noticeable by ear. Bass and kick will suffer first it causes psychoacoustic factors. Strictly speaking, 99 percent of sounding instruments are presented in the center one way or another, and the whole phonogram will suffer.
This is a lion's share of a good commercial mix. Let's take to account that delays and revs occupy all width of the stereo base and fly away all over the stereo panorama. Their sounding merges with all the rest instruments, and the so-called masking effect acts. Even if you decide on making it, you will have to delete all music, leaving just the stereo panorama periphery, its leftmost and rightmost points.
That's why phonograms got by the voice-removal method have unpleasant characteristic artifacts and overtones, being easily differentiated while hearing and not disposing of high sound quality. For those, who still want to experiment with vocal deletion, we have a fully automated online tool. You can try in by this link. Download any file in mp3 format and receive a result in the form of the link for downloading! The reason is not in that scientists do not think about musicians, the reason is that the music has a very complex physical and psychological nature, perception of music is grounded on some psychoacoustic phenomena, and all these things are interwoven into our concept, and poorly formalized.
It makes music hardly preparable even with the most advanced existing technologies! We can say that we're only in the beginning. So, let's make interim conclusions of our discourse. Voice removal tools are simple, but they work as uglyfiers, with a huge loose of quality. Karaoke is commonly accessible but not flexible.
What should we do? Would you like to record all parts yourself? Do you play all the instruments well? Do you have backing vocals or you sing well? Is your hearing good enough to transcribe all parts exactly? Do you have a lot of time to do all this? But what if you have a busy schedule, and tomorrow you need, let's say twenty new backing tracks?
All that can only lead to one conclusion. Let us finally say to you this magic word Every instrument is recorded separately in isolation of others in the multitrack source and saved in a separate file. You can apply any settings equalization, compression, or reverberation to any channel or a group of them.
All you have to do is to download the set of files to your favorite program! One more big advantage lies in a more qualitative transposition the tonality change in comparison with an ordinary phonogram.
In a multitrack, you get an opportunity to transpose every track separately: signal interpenetration will be lower; the level of noise will decrease in accumulating signals. Compare and feel the difference! Here is the example. You get an opportunity to create lots of mix versions. You can replay any part in a multitrack. Also, you are able to prolong or shorten songs on several bars, inset new solo or full episodes due to copying and inserting, and hide all patches carefully.
It allows verifying accompaniment. Change arrangements to your taste! The process of multitrack modification is simplified thanks to the fact that they have separate metronome tracks except for composition in free rhythmic and rubato , instruments are synchronized with each other, all channels are synchronized with clicks, and count-offs are added after all pauses, fermatas, and long stops.
We choose the most suitable performers from the most brilliant singers and musicians all over the world for every record. Having agents in all continents, we always search for talents and expand the base of performers. The most advanced sound equipment of nowadays is installed at our studio.
We control signal purity, mix transparency, the number of restarts to restore, the lack of interferences, noises or hisses, feedback, groundloops, non-linear harmonics, and other unpleasant phenomena that occur while recording, processing, converting, and coding signals.
You always get an ideal signal! They all have the right dynamic balance and panorama. The mix sounds perfectly in any hall and on any equipment. Our multitracks are intended not only for vocal but guitar , drums , keyboards , bass, saxophone, accordion, and any other instruments. Why is it so significant? Vocalists mostly use standard phonograms from the Internet; they are often of a bad quality.
All instruments are recorded as one track on such phonograms. Vocalists download them, learn materials, then come to a concert with a flash card, and make their accompanists and instrumentalists, who are actually dependable on them, perform with them by this phonogram.
While a vocalist sings and enjoys, an instrumentalist has to play his parts over those already recorded. To refuse a performance means to offend a vocalist. Vocalists are very vulnerable.
It becomes uninteresting to perform, as well as to listen to it. A general impression is messed up; the work of all musicians comes to nothing. There should be a way-out! Our multitracks solve this problem once and for all. Every instrument is recorded separately and saved in a separate file. You can make several custom mixes of one and the same song for performance, depending on the ensemble cast. Mute your part and play live!
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