Music recording is an interesting business for every musician who can understand the way to make best quality music production. We bring music recording tutorial to meka you start better on this recording world!
Welcome To Alfaria Studio
January 28, 2008 by stormhitsHello world!
January 28, 2008 by stormhitsWelcome to WordPress.com. This is your first post. Edit or delete it and start blogging!
Adobe Audition 2 Tutorial
July 11, 2007 by stormhits
The most comprehensive way to learn Adobe Audition 2.0!
Classroom in a Book, the best-selling series of hands-on software training workbooks, helps you learn the features of Adobe software quickly and easily. Classroom in a Book offers what no other book or training program does–an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.
Adobe Audition 2.0 Classroom in a Book contains thirteen lessons and a bonus CD with lesson files. The book covers the basics of learning Adobe Audition, and countless tips and techniques to help you quickly become an Audition expert. You’ll learn how to work and edit in a multitrack mixing environment, create audio effects and original soundtracks with loops, restore poor-quality audio, export to CD and MP3, and more. You’ll also learn about Audition 2.0’s new features, including low-latency mixing with unlimited tracks, ASIO support, audible scrubbing, analog-modeled Multiband Compressor, recordable parameter automation with external hardware support, and more. You can follow the book from start to finish or choose only those lessons that interest you.
Code:
http://rapidshare.de/files/24564934/0321385500.zip
Software packages are complex. Shouldn’t software books make it easier? Simplify your life with the Focal Easy Guide to Adobe ® Audition ® 2.0! This short, full-color book lives up to its name by paring down the software to its essentials. It covers only the key features and essential workflow to get you up and running in no time. When time is of the essence, less is more
Antony Brown shares his professional insight to ensure you get the most out of all the tools Adobes Audition ® 2.0 offers. All the essential areas are covered: set up, editing, audio restoration, looping content, working with video, mastering, making a CD, and much more. Featured are many workflow tips that show you how to tap into the full power of Adobe ® Audition ® 2.0 when creating your digital audio files. This is an ideal first read for any editor new to Adobe ® Audition ® 2.0.
Code:
http://rapidshare.com/files/2851951/0240520181.zip
Free Best seller e-book for Mixing and Recording
July 9, 2007 by stormhitsMost of new recording engineer start their recording session without proper guidance. Is that wrong? I don’t say that was wrong, but i bet they spent their whole day to mix and match their song materials. I know that Indonesian musician and recording engineer have a lot of resources to learn such as www.musiktek.com, www.audioindonesia.com, www.bengkelmusik.com and another useful websites. Do they share mixing & mastering manual? may be yes. Do you know how to access the download link? That’s the point, you don’t know where. Don’t worry… I create this post to make you have a download access to the best seller recording, mixing and mastering book just by single click. Enjoy it!
Right click and save to download the file. 
BOB KATZ MASTERING AUDIO-ART AND A SCIENCE
MIXING and MASTERING BOOK The Mixing Engineers Handbook.pdf The Art of Mixing – Color Visual Section.pdf The Art Of Mixing – russian.pdf Mastering Audio – Bob Katz – Complete(a4).pdf RECORDING, MIXING AND MASTERING E-BOOK CUBASE 4 MANUAL
CUBASE SX3 MANUAL Well… thats the first recording, mixing and mastering books I share for you. Please leave your comments if you have any request. I’ll do my best to make Indonesian home recording engineer aware about the best way of producing high quality music. Good luck bro! 
Rapidshare ≠ Repotshare?
July 6, 2007 by stormhits
Mungkin teman-teman termasuk orang yang selalu penasaran kalau ada software yang baru dilaunching.Dulu saya termasuk orang yang sangat anti dengan yang namanya bajakan, baik membajak punya orang maupun membeli produk bajakan.Alasannya?
Apakah alasan itu masih berlaku? Coba kita lihat lagi: Biarpun dibajak tetep aja kaya raya Tinggal download Kualitas sama dan banyak pilihan Temennya buanyak… penjara nggak akan muat! Dulu belinya minta duit ibu sekarang udah pake duit sendiri Dulu gengsi sama temen2 (cewe2 yang manis2). Sekarang udah bangkotan ga perlu lagi yang namanya ja-im. Kalau kita bicara software bajakan dulu kita nulisnya ba**kan, karena bajakan dianggap tabu. Beberapa bulan yang lalu saya tertarik sama yang namanya software bajakan, kenapa? Sebagai orang yang cari sesuap nasi dari studio musik pasti saya mau investasi sekecil mungkin dengan hasil semaksimal mungkin. Puluhan kali pelanggan/calon pelanggan studio saya nanya: T: Mas, rekamannnya pakai software apa? A: Cubase SL T: Nggak bisa pakai Nuendo mas? A: Nggak bisa, kualitasnya sama kok (lalu saya puterin contoh lagu yang direkam dan diedit pakai Cubase SL A: Gimana? T: Bagus sih mas, tapi temen2 saya maunya pakai Nuendo mas A: Bilang saja sama temennya kalo hasilnya bagus, Arjuna Afi aja bikin demo sama saya, sekarang udah bikin klip di Nagaswara. T: Gimana ya mas… duitnya patungan sih… jadi saya nggak bisa mutusin Waktu pun berlalu, tapi anak itu nggak juga muncul. Lalu saya suruh operator saya nelpon anak itu. Ternyata mereka udah rekaman di D…..n dengan Protools. Seminggu kemudian mereka datang minta dieditin ulang lagu yang direkam di studio tadi karena nggak puas kualitasnya. Baru mereka ngeh kalo Cubase SL nggak kalah bagus sama Nuendo Maupun Protools. Morale of the story: Bercermin dari begitu banyaknya kasus serupa yang berujung hilangnya nasi yang sudah ada di piring, maka saya memutuskan untuk tidak bermusuhan dengan software bajakan dengan syarat tetap memenuhi petuah orang yang telah kerja keras menjebol proteksi software tersebut yang berbunyi ”DON’T MAKE MONEY FROM WAREZED SOFTWARE!” Caranya? Saya punya 2 komputer untuk recording, dan 1 komputer untuk Editing & Pre mastering. Satu dari computer yang dipakai untuk recording saya pasangin 1001 software bajakan, apapun yang pengguna studio saya kehendaki. Yang jelas saya tetap mengandalkan software yang asli (biarpun itu dapetnya dari bawaan hardware) untuk cari makan. Berapa rupiah investasi yang dibutuhkan untuk beli original software? Kalau dinilai rupiahnya seandainya saya beli software yang original totalnya lebih dari 100 juta rupiah! Semua meliputi recordimg software, looping software, Vst Plugins, VSTi plugins, dll. Software yang super mahal tadi bisa saya dapat dalam 2 hari tanpa harus keluar biaya apapun selain biaya internet selama download. Dari mana saya dapat software bajakan? Sekarang banyak sekali situs-situs yang menyediakan software bajakan, yang terbesar adalah phasedll, yang di Indonesia bajakan.com, kaskus, dan masih banyak lagi. Yang paling simple di bajakan.com karena basisnya blog gratisan maka nggak perlu mendaftar, nggak perlu login, dan khusus audio spftware dibuatkan list sehingga pencariannya mudah. Rapidshare = Repotshare? Ada yang bilang kalau mau download software lewat rapidshare.com kok repot banget harus pakai premium account. Buat sebagian orang yang katro memang iya, tapi buat yang ngerti Rapidshare ≠ Repotshare, bahkan di warnet yang speedy based pun via level3 bisa didapetin download transfer rate 300kb/second! Memang dunia bajak membajak mangkin hari mangkin gila. Terserah teman-teman bagaimana cara menyikapinya. Ada yang belum tahu cara mudah download via Rapidshare? Katro…
Merugikan yang punya produk 
Tempat belinya jauh & parkirnya susah
Kualitasnya buruk /susah bedain yang bagus sama yang jelek
Melanggar undang-undang
Nggak boleh sama ibu
Gengsi
Reason 101 – Mastering Reason [Video]
July 6, 2007 by stormhits
iNFO :
“Reason is an incredible “studio in a box,” and with a few tips and tricks to show you the way, you can make incredible music with it.”
Trainer: Paul Garay
Level: Level 1
Application: Propellerhead Reason 3
Platform: Mac & PC
Runtime: 180 minutes
File Size: 529 MB
Over the years, Propellerhead Reason has become one of the hottest audio
applications on the market, and many top producers now use Reason for every step of their production process. You can easily make a full record using nothing more than Reason … it’s done every day, in studios all over the world.
Of course, there’s a steep learning curve with any program as functional as Reason. You could take time to learn this incredible audio application through the school of hard knocks, or you can let an expert instructor with years of experience show you the way! Let me introduce you to Paul Garay …
Paul begins this tutorial program by showing you how to configure Reason to work with your computer, audio interface, and MIDI controller, then moves on to explore the interface and set up the controls you’ll use while working through the rest of the program.
Next follows a full exploration of Reason’s awesome software instruments, including the Redrum drum computer, the Subtractor Analog Synthesizer, the Malstrom, the NN-19 Digital Sampler, and the NN-XT Advanced Sampler. These are the arrows in your sonic quiver, and you’ll learn all you need to know to get incredible sounds out of them.
You’ll also learn essential tips and tricks for sequencing notes to create an arrangement, before moving on to learn how to apply Reason’s DSP effects to mix and master your songs.
If you are using Reason as a tone module, you’ll be excited to watch the in-depth exploration of rewiring Reason into today’s top audio production software, including Apple Logic and Digidesign Pro Tools.
For a full list of this tutorial program’s contents, check out the table of contents below.
Table of Contents
Reason 101 : Mastering Reason
Chapter 1: Reason Basics
Section 1: Reason Overview
01: The Setup Wizard
02: Setting Up Basic Preferences
03: The Rack & Sequencer
04: Working The Transport
05: The SPL And Locator Flags
06: Loop Mode Playback
07: Reading The Cpu Meter
08: Setting Up A Default Song
Section 2: The Redrum Computer
09: Redrum Overview
10: Loading Samples Vs. Patches
11: Making A Beat Pattern
12: Copying And Pasting Patterns
13: Mixing And Altering Sounds
14: Copying Patterns To Tracks
Section 3: Recording And Saving
15: Recording External Midi Input
16: Saving Your Work
Section 4: The Subtractor Analog Synthesizer
17: Using The Subtractor
18: Choosing An Oscillator
19: Using The Noise Generator
20: Using The Filter Section
21: Using A D S R Envelopes
22: Saving A Custom Patch
23: Loading Preset Patches
Section 5: The Malstrom
24: Using The Malstrom
25: Using The Index Slider
26: Using A D S R Curves
27: Using Filters
28: Assigning The Mod Wheel
Section 6: The NN-19 Digital Sampler
29: Using The NN-19 Sampler
30: Loading Sample Files
31: Filtering Samples
32: Using Multi-Sample Patches
Section 7: The NN-XT Advanced Sampler
33: Using The NN-XT Sampler
34: Loading Preset Patches
35: Using Multiple Outputs
36: Layering Multiple NN-XTs
Chapter 2: Getting Deeper Into Reason
Section 1: Working With Rex Files
37: Dr. Rex Loop Player
38: Importing Refills
39: Adjusting Slice Settings
40: Copying A Rex Loops To A Track
Section 2: Using The Combinator
41: The Combinator
42: Multi-Output Instruments
43: Multi- Device Instruments
44: Saving A Multi-Instrument
Section 3: Using The Sequencer
45: Understanding The Track Column
46: Understanding The Sequencer Area
47: Setting Up A Track For Record
48: Recording A Track
49: Quantization Overview
50: Pre Quantization
51: Post Quantization
52: Overdub & Replace Cycle Recording
53: Sequence Grouping
54: Understanding The Tools
55: Basic Song Arranging
Section 4: Using Rewire
56: What Is Rewire?
57: Setting Up To Rewire Reason
58: Rewiring Into Logic 7.2 And Up
59: Rewiring Into Logic 7.1 And Below
60: Rewiring Reason Into Pro Tools
Section 5: Pattern Sequencing
61: Pattern Sequencing Using The Redrum
62: Pattern Sequencing Using The Matrix
63: Programming The Gate Mode Of The Matrix
64: Chaining Multiple Patterns With The Matrix
Chapter 3: Refining Your Sounds
Section 1: Using Effects
65: Adding An Effect To A Sound
66: The RV-7 Digital Reverb
67: The DDL-1 Digital Delay Line
68: Creating An Effects Loop (Send/Return)
69: Adding Processing To An Instrument
70: What Is EQ?
71: Using The Mixer 14:2 EQ
72: The Peq-2 2 Band Parametric EQ
73: What Is Compression?
74: The Comp-01 Compressor/Limiter
75: Setting The Attack And Release Controls
Section 2: Creating A Mix
76: What Makes A Good Mix?
77: What Is Unity Gain?
78: Setting Levels For Mixing
Section 3: Using Automation
79: Understanding Automation
80: Writing Automation
81: Using An External Midi Control
82: Editing Automation
Section 4: Mastering Your Song
83: What Is Mastering?
84: Using The Mclass Mastering Suite
85: The Mclass Equalizer
86: The Mclass Stereo Imager
87: The Mclass Compressor
88: The Mclass Maximizer
Section 5: Finishing Your Song
89: Setting Song Information
90: Checking Song Self Contain Settings
91: Publishing Your Song
92: Exporting A Loop As An Audio File
93: Exporting A Song As An Audio File
Download Link :
Code:
http://rapidshare.com/files/25435801/master_reason.part1.rarhttp://rapidshare.com/files/25776578/master_reason.part2.rarhttp://rapidshare.com/files/25780052/master_reason.part3.rarhttp://rapidshare.com/files/25803547/master_reason.part4.rarhttp://rapidshare.com/files/25574332/master_reason.part5.rar
Kamidia Radisti crowned Miss Indonesia 2007
July 6, 2007 by stormhits
Touted as a contest of “beauty, brains, health and Eastern values,” Kamidia Radisti of West Java beat out 33 hopefuls to be crowned Miss Indonesia 2007 Thursday night at the Jakarta Convention Center.
Kamidia, 23, will receive the winning prize of Rp 75 million (US$8,300) in cash and represent Indonesia in Miss World 2007.
An avid swimmer who has competed nationally, Kamidia also participated in the 2006 Wajah Femina or Femina Face competition where she was a finalist. She studies economics at Padjadjaran University and is in her sixth semester.
Verna Gladies Merry Ingkiriwang, of Central Sulawesi was crowned first runner up; the 23-year-old medical student at Samratulangi University will receive Rp 35 million.
The second runner-up title went to 23-year-old I Gusti Agung Ary Kusumawardani of Bali, a student of literature at Udayana University. Ary will receive Rp 25 million.
This year’s Miss Indonesia pageant was a prolonged affair with performances from six different singing acts between various segments of the program.
Contestants were narrowed down to 10 finalists at the start of the show. The finalists proceeded to answer a series of questions chosen from a glass bowl onstage. Some were thrown relatively soft questions, such as the meaning of smiling or their personal definition of “sexy,” while others received more difficult questions on social issues like teen pregnancy and modernity within the Indonesian archipelago.
Ten contestants soon became five, and another round of questions cut the competition down to Kamidia, Verna and Ary. The final three contestants were all asked the same question, which regarded the loss of cultural assets in Indonesia. Kamidia suggested a weekly tradition for Indonesians to wear different traditional dress, such as kebaya and batik, to keep cultural ties alive.
Three smaller titles were awarded among the other 30 contestants. Dian Ayu Lestari of Maluku was named Miss Persahabatan, or Miss Friendship. Vicky Veranita Yudhasoka of Central Jawa was named Miss Beautiful Skin. Lastly, the title of Miss Favorite, as voted by fans and audience members through SMS messaging, went to Jessica Tji of Bangka Belitung, who was also a top-five finalist. All three ladies will receive Rp 15 million in gifts and cash.
In December, Kamidia will go to Sanya, China to participate in Miss World 2007.
Indonesia also holds an annual Putri Indonesia contest, where the winner will represent the country to the Miss Universe pageant
Mixing and Mastering Tips Here are a few tips to make your music sound its best
June 12, 2007 by stormhits
Vocals
Record flat with no effects and instead find the right microphone for the singer. In the mix, roll off everything below 100 Hz and above 15,000 Hz. Add 2-4dB at 160Hz for male vocals or 320Hz for female voice for warmth. Notch out the mid-range, 500-800Hz, by a few dB. Sometimes a little sparkle in the 7-8kHz area is good, if there’s no sibilance there. Finally, a little compression after the EQ can smooth the vocals out nicely.
Automatic double-tracking. Set a delay line to a short delay, between 5 and 30 milliseconds and hard pan the dry and delayed part for maximum effect. Or, use a pitch shifter set between 2-4 cents and again dry sound goes hard left while the pitch shifted part goes hard right. Vocal reverb sounding muddy? Don’t send so much bass to the reverb. Use EQ before the reverb and take out everything below 3,000 Hz. This gives a nice, bright splash on the plosives and hard consonant sounds. This can make the words more intelligible in a busy mix, too. Put a delay before your reverb and set it to a 100% short delay with no feedback. Send a vocal line to the delay and then on to the reverb. In the mix, you’ll first hear the dry vocal. The delay line then creates a gap before the reverb begins. This makes the room seem bigger, without needing a long (read: muddy) reverb time. Adjust the delay time to fit your music. On choppy vocals it’s cool. Dry sound . . . silence . . . reverb splash. Unique sounds Search for and use equipment, especially synths and outboard gear, that others don’t usually use. Old gear can give you a very distinct sound. Don’t forget that EQ can be CUT to affect tonal quality, not just boosted. Do you want a deeper bass? Cut everything from 5K on up on the bass track. Cutting the highs keeps all the sound in the lower register without getting too dark or flabby. Flange or chorus your ride and crash cymbals. Make sure to use a noise gate to eliminate the noise of the chorus or flanger when the cymbals are silent. This way the effect kicks in when the cymbals are struck with a unique wobbly sound. Put a speaker and mic in your garage, basement, or tiled bathroom. Place them at opposite ends so you pick up the most room sound. Send instrument tracks to the speaker via your mixer send and return system and add real reverb to your mix. Play those faders. As you begin mixing your music, keep moving the faders up and down slightly. You bring a little extra motion to your mix through this subtle manipulation of levels. Often I’ll diddle with EQ and effects sends and returns, too. Nothing major. I’ll just make a few minor tweaks live as the mix progresses. With software, you can automate these subtle changes, too. Vary your tempo. You can be subtle by pushing ahead a few clocks and falling behind occasionally. Or be more intrusive by jumping tempo in greater leaps. Don’t forget about dynamics. I get lots of CDs and the one common thread is dynamics . . . or a lack of any. Get soft. Get loud. Swell. Fade. Mix it up. Subtract some instruments from the mix. Add in everything including the kitchen sink sample. If you don’t know what I mean, listen to orchestral music, specifically try Mahler’s Adagio to his Tenth symphony. You’ll learn what dynamics really are! Check your mix in mono (use TV speakers). If you use small speakers, check your bass content on full-range systems. Less is more A clear mind creates stronger music. Also, take time away. A mix made after ten hours of tracking rarely sounds good to rested ears. Tired ears = bad mix. So, make sure you take a break. And then return to your mix with fresh ears. Mastering A final mix is NOT a master Keep a notebook of your tricks and tips and compile a handy bag of tricks that brings your music alive.
Today’s technology makes it very tempting to add layer upon layer. The side effect is your song or production gets rather dense and cluttered. Sometimes you must step back, reevaluate, and strip it down. Heed the advice of award-winning recording and mixing engineer Ed Cherney (Stones, Clapton, and Raitt): “Listen to what’s there, see where the song is, [and] eliminate things to find the heart of the song. Nobody dances to what kind of gear you used.”
Use mastering hardware or software to add the final sweetening to the stereo mix. However, don’t over process too much. Mastering programs make it way too easy to push the sonic integrity of a piece. Often a little low end whump and high end sizzle coupled to some light compression to raise the overall level coupled to peak limiting to prevent digital distortion is all you need. Use your favorite CDs as a reference when mixing and mastering. Alternately, hire a professional mastering engineer who brings experience and fresh ears to your project.
Get the hottest vintage guitar rig around: AmpliTube Jimi Hendrix
June 5, 2007 by stormhits
• The first authentic software recreation of the complete guitar amp and effects rig of Jimi Hendrix
• Includes models of extremely rare and collectible vintage stomp boxes, amp heads and cabinets
• A legendary sound that has marked the evolution of modern rock guitar and has influenced some of the greatest guitarists of our time
• Powered by the award-winning AmpliTube 2 engine featuring proprietary techniques such as DSM™ (Dynamic Saturation Modeling) for achieving the most accurate emulation of guitar amps and effects
• 5 separate modules: tuner, configurable stomp pedal board, amp head, cabinet + mic and rack effects
• 4 Amp models
• 7 Cabinet models
• 5 Microphone models
• 9 Stomp Effect models
• 4 Rack Effect models
• High-precision Tuner
• 2 Guitar rig chains
• Jimi Hendrix song presets immediately recall the entire rig used
• Plug-In and Standalone version
AmpliTube Jimi Hendrix™ is a cooperative effort between Authentic Hendrix and IK Multimedia. Authentic Hendrix was founded in late 90s, by Al Hendrix and his daughter Janie to curate and promote Jimi’s extensive recorded legacy. Jimi Hendrix was fundamental in the development of modern guitar amplification and guitar effects and marked the evolution of modern electric guitar sound. In only the four years between 1966, when he started his rehearsal sessions with the Jimi Hendrix Experience, and 1970, when he died in London on September 18 at the age of 27, he contributed to change the way music was made and electric guitar was played, leaving a permanent mark on the generations of guitarists and musicians that followed. He is constantly named by guitar and music magazines as the number one guitarist of all time. The Jimi Hendrix rig Hendrix’s sound is a unique mix of high volume, feedback control and a exclusive, personal usage of guitar effects which was a breakthrough for its time. By then Hendrix was one of the first guitarists to experiment with the full expressive possibilities of electronic effects, which were a fundamental part of his sound. Electronic effects were a technological novelty in the 60’s with semiconductor electronics in its infancy and the very first commercially available germanium transistors introduced in the mid 50’s gradually replacing tubes in the next two decades. IK has gone the extra mile in accurately modeling all the most important components of the Hendrix rig not only using proprietary AmpliTube 2 DSM™ (Dynamic Saturation Modeling) technology at its best, but collecting all the original vintage stomps, amplifiers and cabinets and fine tuning the software emulations by ear with accurate craftmanship to achieve incredibly realistic modeling results. A sound that will bring you back to the Woodstock era. AmpliTube Jimi Hendrix offers the same 2 series/parallel rig structure of AmpliTube 2 and ensures a complete and flexible rig structure that can be used not only to recreate the authentic tones of popular Hendrix tunes but since the modeled gear in this product is in such high demand by guitarists, AmpliTube Jimi Hendrix is a fantastic tool for many styles of modern rock music from hard rock to punk, alternative, progressive and pop.
Do and Don’t
April 30, 2007 by stormhits
When visiting Indonesia, visitors should observe local customs and practices. Some common courtesies and customs are as follows :
Although handshakes are generally acceptable for both men and women, some Muslim ladies may acknowledge introductions to gentlemen by merely nodding and smiling.
A handshake should only be initiated by ladies. The traditional greeting or salam resembles a handshake with both hands but without the grasp.
The man offers both hands, lightly touches his friends outstretched hands, and then brings his hands to his chest to mean, “I greet you from my heart”. The visitor should reciprocate the salam.
It is polite to call before visiting a home.
Shoes must always be removed when entering a home.
Drinks are generally offered to guests. It is polite to accept.
The right hand is always used when eating with one’s hand or giving and receiving objects. The right forefinger is not used to point at places, objects or persons. Instead, the thumb of the right hand with four fingers folded under is the preferred usage.
Shoes must be removed when entering places of worship such as mosques and temples. Some mosques provide robes and scarves for female visitors.
Taking photographs at places of worship is usually permitted but always ask permission beforehand.
Toasting is not a common practice in .
The country’s large Muslim population does not drink alcohol.
