#FREE Up and Running with FL Studio 12 #Audio + Music #FL Studio

Up and Running with FL Studio prepares music producers and audio engineers to work on real-world projects with FL Studio, the powerful digital audio workstation on par with Ableton Live and Pro Tools. Author Stefan Loader reviews the most important parts of the interface and then dives deep into the step sequencer, showing how to create a beat, add samples and instruments, use the Piano Roll, and record MIDI tracks. He also demonstrates how to use Fl Studio’s built-in plugins, automation, patterns, and effects to develop the sound of your song, and export it for sharing with the world.

LEVEL –  Beginner

COURSE TOPICS:

Connecting MIDI equipment
Building a drumbeat
Creating melodies with the Piano Roll
Adding instrument tracks
Arranging songs with patterns and clips
Mixing songs with FL Studio
Exporting and rendering tracks

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Instructor’s Welcome Note:

– Hi, I’m Stefan Loader, and welcome to Up and Running with FL Studio 12. FL Studio is a digital audio workstation similar to Logic, Ableton Live, Pro Tools, and Keybase. In this course I’ll introduce you to the user interface of FL Studio. I’ll also be showing you several methods for building a basic drum beat from slicing samples out of loops to recording in MIDI using Drumaxx. We’ll be looking at sound design as well with some of the plugins that come with FL Studio. Next, we’ll look at how to arrange and edit MIDI clips and how to use automation and audio clips to further develop your project.
Then, I’ll show you how to add effects, delay, and other plugins as well as some more advanced techniques like side chaining and using send buses. And finally, I’ll show you how to share your song with the world. FL Studio 12 is a versatile and powerful program, and I hope watching this course will inspire you to create and produce music in ways you may not have even considered before. So let’s get you up and running with FL Studio 12.

 

 

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#FREE Music Theory for Songwriters: Harmony #Audio + Music #Julian Velard

Music theory is fundamental to making and playing music?but it can be kind of dry. Music Theory for Songwriters is taught in a user-friendly and songwriting-focused way, demonstrating techniques on both keyboard and guitar, allowing songwriters to learn music theory while they learn song craft.
In this installment, musician Julian Velard digs into more intermediate-level music theory topics. Starting with minor scales, he shows examples of classic songs in minor keys, and then explores the modes of the diatonic scale (e.g., the mixolydian mode). Next, Julian dives into chords with 4 or more notes, covering 7th chords, chord extensions (e.g., 9ths, 11ths, and 13ths), suspended chords, diminished chords, augmented chords, and inversions. Finally, he covers key centers, modulations, pedal points, alternate bass notes, and polychords. At the end of each chapter, Julian explains the techniques shown within the context of his own original songs.

LEVEL –  Beginner

COURSE TOPICS:

Working in minor scales
Using Dorian, Phrygian, Lydian, and Mixolydian modes to write songs
Extending chords
Using 7th chords in a song
Transposing a song
Building different harmonies from a single melody

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Instructor’s Welcome Note:

(musical tones) – Hi, I’m Julian Velard, and welcome to the second course in the Music Theory for Songwriters series. Songwriting is often considered an art born solely of inspiration. And while inspiration is at the heart of music, music theory is the language that lets us shape our inspiration into songs. By having an understanding of some of the deeper elements of music theory, you can improve your songwriting skills and broaden the types of songs you can write.
This course is for anyone who wants to know more about the inner workings of music theory, and apply that knowledge to their songwriting process. I’ll assume you have a basic knowledge of notes, intervals, and major scales, which are all topics covered in the first Music Theory for Songwriters course. First, I’ll explore the minor scales. Then, I’ll explain the modes of the diatonic scale, from Dorian and Phrygian, to Lydian, Mixolydian, and Locrian, and discuss their unique sounds and how they can be used in songwriting.
Next, I’ll explain how seventh chords are formed, from major seven and minor seven, to dominant seven and half the minus seven chords. I’ll discuss chord extensions, like ninth, eleventh, and thirteenth, as well as triads with added notes. I’ll then move into transpositions and modulations, demonstrating how to move your songs from one key to another. From there, I’ll explain pedal points and slash chords. Finally, I’ll wrap up the course by showing you how to build chord progressions around a melody using methods of reharmonization, an essential songwriting technique.
I’ll also show you how I use music theory in my own compositions, by performing some of my original songs and breaking them down to demonstrate the concepts we’ve covered. I’m excited to share with you all the incredible facets of music theory that power our ability to write better songs. Let’s get started. ? It’s automatic ? It’s automatized ? It’s automatic ?

 

 

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#FREE Music Law: Managing a Band’s Business #Audio + Music #Richard Stim

Any band can encounter problems such as financial mismanagement and contract disputes. Learn to avoid the major music business pitfalls that can break bands apart in this course with Richard Stim, attorney and music law specialist.
It starts with what it means to be the manager of a band, and what types of business structures are available for bands. Once you’ve decided on a business structure, you can create a band partnership agreement that covers voting rights, postbreakup scenarios, new members, and terms for resolving disputes. Richard also exposes potential sources of disputes, like ownership of the band name, songs, equipment, and recordings. He includes advice on negotiating solid band contracts and managing financial basics: taxes, income, cash flow, and bookkeeping. Finally, he’ll address how to protect your work, including your copyrights, band name, and songs, and explains how to find a lawyer?and save money on attorney fees.
DISCLAIMER: This course is taught by an attorney (or other instructor) and addresses US law concepts that may not apply in all countries. Neither LinkedIn (including Lynda.com) nor the instructor represents you and they are not giving legal advice. The information conveyed through this course is akin to a college or law school course; it is not intended to give legal advice, but instead to communicate information to help viewers understand the basics of the topic presented. The views (and legal interpretations) presented in this course do not necessarily represent the views of LinkedIn or Lynda.com.

LEVEL –  Appropriate for all

COURSE TOPICS:

Putting together a band partnership agreement
Working out ownership disputes
Limiting band liability
Protecting your copyrights and band name
Hiring a lawyer

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Instructor’s Welcome Note:

– Welcome to Music Law: Managing a Band’s Business. If your band is working hard to succeed and you’re the person in the band managing the business, you will benefit from this course. I’ll explain how to create a band partnership agreement, protect your band’s name, secure rights to your band’s songs, limit your band’s liability, protect your rights in the recording studio, prepare a tour budget, and more.
Hopefully, the principles and procedures explained here will reduce some of the hassle associated with managing your band and provide you with more time to spend on your most important priority, making music.

 

 

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#FREE Music Taxes and Accounting #Audio + Music #Richard Stim

Most musicians count themselves lucky to make money at a career they love. But income means taxes, and taxes can lead to many questions. What exactly counts as income? What can you write off? What happens if you get audited?
In this music business course, author Rich Stim covers the most important tax issues for musicians. He starts with the basics: determining if music is a hobby or a business for you and how that affects your deductions. He then discusses money and the sources that determine gross income. From there, he shows the items you can deduct from your gross income?mileage, studio spaces, touring expenses, and other miscellaneous deductions?that can add up to big savings. Next, he covers the different tax rules for individual musicians, bands, general partnerships, LLCs, and corporations, and explains how to get an Employer Identification Number (EIN) when you need one. Finally, Rich navigates through the tax forms, including Form 1040, Schedule A, Schedule C, Schedule SE, Schedule K-1 (Form 1065), Form 4562, Form 8829, and Form 2016, and provides advice on hiring a tax preparer or going the DIY route with tax software.
DISCLAIMER: This course is taught by an attorney (or other instructor) and addresses US law concepts that may not apply in all countries. Neither LinkedIn (including Lynda.com) nor the instructor represents you and they are not giving legal advice. The information conveyed through this course is akin to a college or law school course; it is not intended to give legal advice, but instead to communicate information to help viewers understand the basics of the topic presented. The views (and legal interpretations) presented in this course do not necessarily represent the views of LinkedIn or Lynda.com.

LEVEL –  Appropriate for all

COURSE TOPICS:

Managing bookkeeping
Counting income
Claiming expenses and other deductions
Understanding tax entities such as LLCs
Getting an employer ID number
Preparing and paying taxes

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Instructor’s Welcome Note:

– Welcome to Music Taxes and Accounting. If you are earning a living from music or you’d like to, this course will help. It provides basic tax information that can lower your tax bill and improve your bottom line. In this course, you will learn how to track income and expenses, how to qualify for deductions, depreciate equipment, claim home studio expenses, determine the likelihood of being audited, and much more.
Throughout this course, I cite numbers, rates, and tax formulas. Be aware that some of these may change over time and you may need to check the IRS website for the most up-to-date-information. I’ll start with some common tax questions.

 

 

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#FREE Up and Running with Omnisphere 2 #Audio + Music #Omnisphere

Spectrasonics Omnisphere is a synthesizer of enormous power, with a library of over 12,000 sounds. Its versatility makes it valuable for any kind of music production, including film scoring. In this Omnisphere training course, J. Scott Giaquinta explains what makes this amazing synth work, including the concepts behind headers, multis, parts, and layers, and shows how to find sounds in its extensive libraries. He also demonstrates how to use the Orb, a unique circular controller, and the granular engine to modify sounds, and build your own sounds with features such as the Modulation Matrix and FX modules. In the final chapters, J. Scott G. shows how to create two completely new sounds (a bass sound and pad) from scratch with Omnisphere.

LEVEL –  Beginner

COURSE TOPICS:

Navigating the Omnisphere header and multis
Setting up automation
Managing presets and patches
Using the Orb to manipulate sounds
Exploring the Synth and Sample modes
Using filters, envelopes, and LFOs
Using granular to mangle sounds
Understanding the Arpeggiator
Using Stack and Live mode
Creating sounds from scratch

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Instructor’s Welcome Note:

– Hi, my name is J. Scott G. Welcome to Up and Running with Omnisphere 2. There aren’t many synthes on the market that do it all, until now. Omnisphere 2 is the go to solution for just about anything you can think of within the synth realm. In this course, I’ll be showing you how to navigate the browser, as well as Omnisphere’s extensive sound library. I’ll also be showing you it’s incredible new oscillator section, the modulation matrix as well as its comprehensive FX racks. In addition, I’ll be showing you how to import your own samples and mangle them with Omnisphere’s new granular engine.
Finally, I’ll be wrapping up the course by creating a couple of sounds from the ground up so you can see how easy it is. So if you’re ready to take synthesis to the next level, then get ready for Up and Running with Omnisphere 2.

 

 

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#FREE Up and Running with Studio One 3 #Audio + Music #Studio One

Studio One is an up-and-coming DAW that’s a serious contender for “best DAW ever.” Its speed and agility belie its powerful editing tools and rich library of sounds. In this course, author Scott Hirsch shows how to get started with Studio One 3, beginning with the Start page and device setup. He then shows how to start recording a new song with templates and Studio One’s built-in loops. Next, Scott moves into editing and arranging audio and MIDI, explaining important techniques like quantizing MIDI and creating multi-instruments. He then covers automating and mixing in the console, and using Studio One’s mastering and digital publishing tools to share your tracks with the world.

LEVEL –  Beginner

COURSE TOPICS:

Configuring your interface and external MIDI devices
Customizing preferences
Creating a new song
Configuring and recording audio
Loop recording
Creating multi-instruments
Quantizing and editing MIDI
Conforming to the beat
Mixing in Studio One
Mastering with EQ, compression, and limiting
Exporting the final song

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Instructor’s Welcome Note:

(chimes ring) – Hi, I’m Scott Hirsch, and I’ll be your author and guide for Up and Running with Studio One 3. Along the way, I’ll introduce you to the useful web connected start page where you’ll build your artist profile and have access to your song and project pages. We’ll dive into building a song from scratch using some of the powerful pre-made templates and the new easily searchable loops that come with Studio One 3. We’ll also look at creating powerful new multi-instruments and effects chains.
I’ll show you streamlined work flows for recording, comping and time adjusting your audio recordings and midi sequences. We’ll work with the console window to automate and mix our songs, and then we’ll look at the awesome mastering preparing for physical release and digital publishing tools available in the Project page. So, whether you’re upgrading to Studio One 3 or just starting out as a new user, you’re in the right place. So, let’s get started. (upbeat music)

 

 

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#FREE Advanced Instruments and Effects In REAKTOR #Audio + Music #REAKTOR

Everyone uses Native Instruments virtual instruments in their productions, regardless of their DAW. This course will show how to take advantage of the advanced instruments and effects in REAKTOR, including MONARK, PRISM, and THE FINGER. Your guide, Evan Sutton, provides an overview of synthesizer history (and which synthesizers of the past have been resurrected in REAKTOR), and reviews new approaches to effects and live performance and programming in REAKTOR.

LEVEL –  Intermediate

COURSE TOPICS:

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Instructor’s Welcome Note:

– Welcome to Advanced Instruments and Effects in REAKTOR. In this course we’ll take about the REAKTOR environment and how to navigate through the endless amounts of library materials and instruments that there are to work with. We’ll talk a little bit about synthesizer history and access instruments that are only available inside of the REAKTOR interface. We’ll talk about new and exciting synthesis methods such as physical modeling which can open the door to new sonic territory. We’ll explore new approaches to effects and live performance. We’ll also customize some ensembles and create our own signal chains.

 

 

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#FREE The Dos and Dont’s of Attending a Music Conference #Audio + Music #Cliff Goldmacher

Music conferences are a great place for songwriters to build relationships, learn about industry trends, and find publishers for their songs. In this course, professional songwriter Cliff Goldmacher shares his insights on the best practices for getting the most out of attending a music conference. He covers four dos and four don’ts that will make sure you leave the conference with new ideas, new opportunities, and new contacts.

LEVEL –  Beginner

COURSE TOPICS:

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Instructor’s Welcome Note:

– Hi. I’m Cliff Goldmacher, and welcome to the Dos and Don’ts of Attending Music Conferences. For those of you who’ve never been, a music conference generally takes place in a major music city, like New York, Los Angeles, or Nashville, and is a combination of workshops, showcases, meetings with music publishers, and a lot of opportunities to network. In this course, I’m going to review some things to do and some things to avoid, so that you can make the most of any music conference you choose to attend. First, I’ll start by discussing why you should attend a music conference in the first place.
Then, I’ll discuss some specific things you should keep in mind in order to improve your odds of having a productive and positive experience. And finally, I’ll go over a few mistakes you should try to avoid, so that your conference experience will go as well as possible. Whether you’re a veteran of many music conferences or you’re just getting up the courage to go to your first one, this course should give you some good things to think about. Let’s get going with The Dos and Don’ts of Attending Music Conferences.

 

 

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#FREE Digital Release and Promotion Strategies for Musicians #Audio + Music #Evan Sutton

The biggest issue musical artists face is how to get people to hear and purchase their music. Luckily, today’s digital platforms offer a variety of ways to engage new customers and longtime fans. In this course, author Evan Sutton explains the best practices for self-releasing and promoting music online. He begins by discussing how to ready a release for online distribution, including mastering, ISRC codes, online aggregators, and setting release dates. He moves into online promotional strategies, including blogs, press releases, free download strategies, exclusives, and streaming options.
He then discusses email-marketing strategies for capturing contact information, scheduling emails, and working with email marketing platforms like MailChimp. He wraps up the course talking about maintaining momentum with an audience, including consistency in promotion, audience interaction, horizontal networking, and hiring third parties to assist in the project.

LEVEL –  Beginner

COURSE TOPICS:

Readying your finished tracks for mastering
Self-mastering vs. working with a mastering engineer
Choosing an online aggregator
Setting a release date
Targeting blogs that fit your brand
Writing a press release
Using social media
Sending promotional emails
Maintaining a connection with your audience

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Instructor’s Welcome Note:

(gently chiming bells) – Hey there, my name’s Evan Sutton, and welcome to Digital Release and Promotion Strategies for Musicians. In this course, we’ll talk about getting your tracks ready for mastering, dealing with third-party contractors such as mastering engineers and graphic designers. We’ll talk about online distribution and things like publishing an ISRC codes. We’ll talk about targeting your audience and working with the press in order to get the best possible promotion going. We’ll talk about writing press releases, setting up free downloads, and we’ll even touch on some social media strategies to get the most out of your relationship with your fans.
So, don’t go anywhere because these are the tricks of the trade.

 

 

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#FREE Pro Tools 12 Essential Training #Audio + Music #Pro Tools

Pro Tools is the industry-standard software for music and post-production. Updated for version 12.3, this course covers the essential concepts and techniques necessary for recording, editing, mixing, and mastering in Pro Tools. Composer/producer Skye Lewin teaches you how to create music with virtual instruments and plugins, work with audio and video files, and make both basic edits and more advanced edits with tools like Elastic Time and Pitch. Plus, learn to create a musical score, write and edit automation, and mix with effects loops and more. Finally, discover how to bounce down a final master and export and archive your session. Whether you’re a producer, a sound engineer, or a hobbyist, this course can help you become proficient in Pro Tools 12.

LEVEL –  Beginner

COURSE TOPICS:

Exploring the Pro Tools interface
Connecting hardware
Adjusting preferences and settings
Selecting inputs, outputs, and busses
Understanding signal paths and gain stages
Defining input and output settings
Importing audio
Recording and editing audio and MIDI
Composing with virtual instruments
Adjusting time, tempo, meter, key, and chords in arrangements
Using delay compensation
Mixing and mastering
Exporting to MP3
Setting up an effects loop (sends and returns)
Importing and working with video
Working to picture with music, Foley, ADR, and FX
Archiving a session

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LEARN THIS COURSE FOR FREE *10 days of free unlimited access to “Pro Tools 12 Essential Training”

Instructor’s Welcome Note:

(Introduction music) – Hi, I’m Skye Lewin and welcome to Pro Tools Essential Training. In this course, we’ll delve into the industry-standard software for music production and audio post-production, and we’ll cover the basics of how to use Pro Tools for recording, editing, mixing, and mastering. I’ll show you how to connect your Pro Tools studio and then we’ll explore all the facets of the Pro Tools interface. I’ll show you how to record and edit both audio and MIDI in a Pro Tools session, as well as how to work with virtual instruments and plugins.
We’ll look at working with video in Pro Tools, as well as importing any kind of data into your Pro Tools session. We’ll also explore using Pro Tools playlists to comp between different takes. We’ll examine automatic delay compensation for keeping tracks time-aligned, elastic audio for time and pitch manipulation, and I’ll cover how to create a professional musical score with the Score Editor. Finally, we’ll use Pro Tools for mixing and mastering, and I’ll show you how to export your work and how to archive a Pro Tools session for backup and storage.
The techniques covered in this course will show you how to use the tools, functions, and features in Pro Tools for any aspect of music and audio post-production. This course is applicable to all versions of Pro Tools, though if you’re using an earlier version of Pro Tools, you may want to check out the other Pro Tools courses here on Lynda.com. Let’s get started with Pro Tools Essential Training.

 

 

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#FREE A Prolific Music Producer’s Workflow for Finishing Tracks #Audio + Music #Ableton Live

So many of us have rough recordings or bare bones song ideas just sitting on our hard drives, waiting to be finished… This course provides strategies for completing those tracks and releasing them to the world. It’s based on industry pro Evan Sutton’s own workflow for being a more productive, prolific music producer.
Evan starts with the music production tools that can make it easier to see a song through to completion, such as templates, presets, and foolproof hardware setups. Next, he gets into the heavy lifting, mixing both songwriting and production techniques with tips for dealing with the psychological factors that may trip you up when completing a song. He wraps up the course with techniques that help to clear the final steps of song completion, including building transitions, adding ear candy, mixing strategies for increased efficiency, and simple mastering techniques, whether you choose to master your tracks yourself or hire a professional.

LEVEL –  Intermediate

COURSE TOPICS:

Planning your track with a problem-solving mindset
Prepping to record vocals and music
Using DAW song templates
Getting basic musical ideas down
Making decisions that serve the song
Using channel strip presets
Creating sections and structure
Building better transitions
Adding FX, ear candy, and automation
Mixing and mastering

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Instructor’s Welcome Note:

(xylophone music) – Hey gang, Evan Sutton here. Welcome to a Prolific Music Producer’s Work Flow for Finishing Tracks. In this course we’re going to talk about approaches to Work Flow and Mind Set to help you become a more prolific and more productive music producer. We’ll talk about problem solving. We’ll talk about things like templating and tweeks to your Work Flow such as presets that you can build yourself. We’ll talk about prepping for recording sessions and getting everything ready to go. We’ll talk about getting musical ideas down and composing using the tools in front of you and keeping things simple.
We’ll also talk about building sections and approaching structure in a functional way. Finally we’ll talk about the finishing touches to take your track across the goal line and knowing when you’re done, so I hope you packed a lunch because we’re in it for the long haul. (electronic music)

 

 

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#FREE Beat Making with MASCHINE #Audio + Music #Maschine

MASCHINE is the go-to technology for making beats. This course is your go-to guide. Join producer and instructor JK Swopes as he demonstrates how to create beats using MASCHINE’s built-in sounds, expansions, and samples. He covers basic rhythmic theory, and MASCHINE’s main features for altering the sounds of a performance, including swing, quantization, and velocity. Next, he moves into making beats with the built-in sounds and official MASCHINE expansions, and creating melodies, drum parts, bass lines, and percussion tracks. He also demonstrates how to add variety to your patterns and arrange your patterns into a full song structure.
In Chapter 3, JK uses the same techniques to make a new sample-based track?a great way to make custom sounds you won’t hear anywhere else. Start watching to learn how to make your own beats with MASCHINE.

LEVEL –  Intermediate

COURSE TOPICS:

Quantizing beats to align notes
Making a simple drum pattern
Adding groove to beats
Using MASCHINE expansions
Creating melodies
Adding bass, percussion, and FX
Creating pattern variations
Arranging songs
Making beats from samples

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Instructor’s Welcome Note:

– Hey what’s up? This is JK Swopes also known as St. Joe, I’m a producer, educator, and owner of machinetutorials.com. I want to welcome you to Making Beats with Machine. In this course, we’ll take a look at some of the basics like setting your tempo, understanding beats, quanties, and note divisions. We’ll also look at making beats with the internal sounds, machine expansions, as well as chopping up your own samples to make a track.
With that said, let’s get into making some beats. (upbeat jazz music)

 

 

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#FREE An Insider’s Guide to Today’s Music Biz 01: The Big Picture #Audio + Music #Steve Rennie

If you are looking to do something big in the music business, something great, getting your head around the big picture is one of the most important elements of success. It’s not about marketing and promotion, how to make records, how to book a tour, or how to manage your social media. Those are all important pieces of the puzzle if you want to be successful. But it’s been Steve Rennie’s experience?from working in the music biz over 36 years?that if you can understand how the music business works, what’s really important, then the rest of the pieces will fall in line.
This course kicks off An Insider’s Guide to Today’s Music Biz, a series of 9 courses designed to teach the ins and outs of the music business to bands, managers, and songwriters. Here, Steve provides tips on assessing your talent, committing to a plan, picking partners, figuring out financials, finding ideas, and surviving in what can be a tough business. Steve’s experience, and his honest take on the ups and downs of the industry, will help anyone interested in breaking through be better prepared for the realities of getting by in the music biz.

LEVEL –  Beginner

COURSE TOPICS:

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Instructor’s Welcome Note:

– If you’re looking to do something big in the music business, something great, getting your head in the right place is one of the most important, and most often overlooked elements of success in the music business. I think in the beginning, we all want to believe in this romantic version of the music business, where great artists and great music just rises to the top because we think that’s the way it should be, but the fact is, that’s not how it really happens. In the real music business, great artists go unnoticed.
Great songs never get heard. Inspiration alone is not enough. Success in the music business requires a healthy dose of calculation to help those great artists and those songs to fulfill their potential. It’s been my experience from working in the music business for 36 years that if you cannot get your arms around the big picture of how this music business works, if you can’t see it for what it really is, if you can’t see what’s really important, then things will come undone somewhere along the way.
It’s not something most music experts spend a lot of time on. Most folks would rather talk about marketing and promotion, how to make records, how to book a tour, how to manage your social media, any number of other important topic. The fact is, that those things are all important pieces of the puzzle if you want to be successful in the music business, but in the real music business, things happen very fast or they don’t happen at all. When things are moving quickly, it’s easy to get distracted, to lose sight of what’s important in those key moments.
When that happens, having a handle on the big picture of the music business will help guide you on all those decisions, big and small, that you’ll need to make and get right along the way. Understanding the big picture of what it takes to succeed is hugely important because there are so many things in the music business that you just can’t control. Things like the musical tastes of consumers, competition for those limited number of slots on radio playlists, for tours, for managers, agents, labels, what have you.
All the hidden agendas at work in the music business. Record company politics, all that stuff that’s an inevitable part of it. The mindset of your part is as uncontrollable, their willingness to work, their capacity to deal with setbacks. The one thing you can control in the music business is your attitude, your head space that you bring to work every single day. In this lesson, I’m going to share with you some of the most important big picture lessons that I’ve learned over 36 years in this music business.
Lessons you won’t read about in a book or learn in some classroom. These are lessons learned from doing. Lessons that will guide you the same way they’ve guided me. Let’s get started.

 

 

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#FREE Capturing Audio for Video 02: Tips & Techniques #Audio + Music #Jeff Jacoby

Sound for video is often poorly understood and ignored by video producers. Watch almost any YouTube video and you’ll hear the problem. It’s one that plagues new and experienced video producers alike.
Capturing Audio for Video demystifies sound capture, offering professional insights from instructor and audio specialist Jeff Jacoby. This installment is centered on practical audio recording tips and techniques. He shows how to scout a location, monitor audio in the field, plan a shot list and sound recordings, and choose the right equipment, whether you need to buy or rent it. These tutorials are easy to follow and apply, fun to watch, and enormously helpful for video producers and directors alike.

LEVEL –  Appropriate for all

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Instructor’s Welcome Note:

– Welcome to Capturing Audio for Video, Tips and Techniques. This course will help you continue humming along on that all-important road to capturing great audio for your video. For those of you joining me from the first course getting started, welcome. If you haven’t watched that course, I suggest you do so before this one. As Glinda of Oz once said, “It’s always best to start at the beginning.” And if you do, I think you’ll be even better equipped to handle the sound of your show.
Sound for video is one of the least understood and most often ignored components of video production. And I’m guessing that what brought you here is frustration with handling the sound on your shoots. It never comes out quite right, and it’s always causing problems. Sound about right? I understand. I’m Jeff Jacoby, and I’ve been practicing professional audio for decades. And along with my own projects, I teach audio for video at San Francisco State University. Throughout Capturing Audio for Video Tips and Techniques, I’ll cover all sorts of important things you want to know.
And maybe a few you didn’t know you wanted to know. Like why it’s totally worth spending a few minutes focusing your listening and prioritizing audio in your head. Why it always pays to carefully scout and listen to your locations before you shoot. What to do when things just don’t sound right. Why you might want to make a checklist and check it twice. And whether or not it pays to spend your hard earned money on purchasing your own audio equipment.
After watching this course, I’m confident, and you will be too, that you’ll be able to handle the sound of your shows with a lot more understanding and expertise. My evil plan is to make the world sound a little better one video at a time.

 

 

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#FREE Up and Running with Ableton Analog #Audio + Music #Ableton Live

Want to get rich, vintage synth sounds? Get up and running with Ableton Live’s virtual synthesizer, Analog. Rick Schmunk shows how to create sounds using oscillators, sculpt the sounds with filters, and add motion to the sounds using modulation. He wraps up the course with practical “recipes” for creating a variety of archetypal analog synthesizers sounds, including sidechain saw bass, mellow pad, and vintage lead sounds, with Ableton Analog.

LEVEL –  Intermediate

COURSE TOPICS:

Creating a default preset
Creating richer sounds with oscillator tuning
Using filters to sculpt sounds
Shaping volume with amp envelopes
Creating motion with filter modulation
Creating different synth sounds, from saw bass to vintage lead

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Instructor’s Welcome Note:

– Hi, I’m Rick Schmunk and I’m happy to present to you Up and Running with Ableton Analog. Ableton Live is a digital audio workstation, designed to help you compose, record, and mix your musical ideas. I’ll be teaching you Ableton Analog, and the basics of subtractive synthesis, including how to choose waveforms and use filters, envelope generators and LFOs to shape the sound. I’ll show you how to add and tune voices, as well as stack synths to fatten the sound or to enhance the sound’s stereo image.
Then I’ll show you how to apply effects like EQ, saturation, and compression to add character. Finally, I’ll show you how to combine effects and layer software instruments using live racks and then map the parameters to knobs and switches on your controller, so that you can adjust them in live performance or use them as you record automation. So let me show you how to create and shape sounds using Ableton Analog.

 

 

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#FREE An Insider’s Guide to Today’s Music Biz 02: Making Great Music #Audio + Music #Steve Rennie

The music business is built around great songs by great artists. The music business exists to bring those songs to life. Managers, producers, engineers, record labels, promoters, publishers, and concert venues: They’re all there to help connect music with audiences. But the songs don’t write themselves.
This installment of An Insider’s Guide to Today’s Music Biz is designed for songwriters who want to make great music, and for industry professionals who want to understand the process behind it. Music insider Steve Rennie provides tips on what makes a great song, what a successful writing process looks like, the costs involved in recording, and the role of a producer. Steve’s experience, and his honest take on the industry, will help anyone interested in getting their music into the hands of music biz movers and shakers.

LEVEL –  Beginner

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Instructor’s Welcome Note:

– Well, I’m happy to see that you made it to this lesson and that I failed to talk you out of trying to do something big in this music business. It looks like you took my advice, said, “(bleep) the gatekeepers. “I’m doing this,” and here you are. And, honestly, I’m not surprised. You folks are my kind of people. Okay, let’s get down to business. You’re all here because you want to do something great in the music business, so let’s start at square one. What is this music business? The music business is all about great songs, great performances, and great artists.
This music business exists to bring those songs to life, to make sure that great music is heard, to make sure that great performers are seen and enjoyed, and it all starts with a song. Now, clearly, those songs don’t write themselves. They’re created by artists who have something to say and the talent and burning desire to say it. Those artists are the tip of the sword in the music business. They’re the ones that create the music. They’re the ones who are judged on the music they make.
I’ve often analogized that being an artist is like having 10 toes hanging off a cliff with a stiff wind at your back. If it goes wrong, you’ll be the first one over the edge, but it’s also true that those great artists, songs, and performances will never be heard or seen without the work of talented and dedicated music professionals who have a passion to help those artists make great music and the skills to make it happen, and those artists and music professionals each play a unique role in this process.
For artists, writing and performing great songs is typically an act of inspiration. The work of those music professionals, on the other hand, is by necessity, more an act of calculation than inspiration. And whether you’re an artist or music professional, if you’re looking to build a career in the music business, those songs will need to connect with people in a way that inspires them to take action. In the end, those songs will need to connect with music consumers in a way that inspires them to buy music, to buy tickets to shows, and so forth, but in the beginning, those songs will need to make a connection with music professionals whose help they’ll need to turn those songs into money.
Managers exist to help artists take those songs and turn them into careers. Music producers, recording studios, engineers, and musicians exist to take those songs and the performance of those songs and help artists turn them into great recordings. Record labels exist to take those recordings and make them available to music lovers around the world in all different kinds of formats and configurations. Those labels exist to find market and promote those songs and the artists that created them.
They’re staffed by skilled music professionals who are fueled with a passion to work with those artists and see that they’re great music is heard. Music publishers exist to add value to those songs by licensing them for recordings with placements and recordings by other artists in TV commercials, in movies, in video games, in web casts, and more. The concert industry exists to bring those live performances to music fans. Within that touring business exists a whole ecosystem of skilled technicians, sound engineers, lighting designers, sound companies, lighting companies, and venues.
All of them, they are to support those artists and their performances. That’s the music business, folks, and I can tell you this. Whether you’re an artist or a music professional, there’s no telling where your music business journey will take you. God only knows, but there’s one thing I know for sure. It all starts with a song.

 

 

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#FREE Up and Running with Auria Pro #Audio + Music #Garrick Chow

Auria Pro is a professional-level digital audio workstation designed exclusively for the iPad, creating a powerful and portable recording studio.
In this course, author Garrick Chow demonstrates the essential features of Auria Pro for the iPad. He starts by exploring the interface, including the Mix and Edit windows, and the hardware you’ll need to get audio into Auria Pro. He then demonstrates how to record into Auria Pro?using musicians in a real recording session. He records a single track (acoustic guitar) and demos simultaneous multitrack recording. Then he shows how to edit the performances, and mix down and master the recording. Garrick closes with an explanation of how to create snapshots of your work, and back up and share music with Auria’s extensive export options.

LEVEL –  Beginner

COURSE TOPICS:

Creating a new project
Importing audio
Recording a track
Recording multiple tracks simultaneously
Overdubbing
Recording MIDI
Selecting and trimming regions
Editing MIDI
Warping audio and stretching time
Fading in and out
Mixing tracks
Saving and exporting tracks

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Instructor’s Welcome Note:

– Hi, I’m Garrick Chow. In this course, we’re looking at Auria Pro, an app designed exclusively for the iPad that turns your device into a portable, professional level digital audio workstation. We’ll start by taking a tour around the Auria Pro interface and getting our bearings in the Mix and Edit windows. From there, I’ll talk a little bit about the hardware you’ll need to get sounds into your iPad, and how to properly set up the audio chain. Once we’ve seen how to get sounds into Auria, I’ll show you how to record everything from a single audio track to capturing multiple audio sources simultaneously into a multi-track recording.
(upbeat music) Then we’ll move on to the editing stage where I’ll cover the skills you’ll need to learn in order to trim and adjust your recordings so you can move on to the mixing chapter where we’ll see how to add effects, group tracks together in different ways, as well as how to export your project out of Auria to share with the world. As you’re about to see, Auria Pro is a well thought out and powerful app that rivals the features and capabilities of many desktop digital audio workstations. So, let’s get started.

 

 

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#FREE An Insider’s Guide to Today’s Music Biz 03: Treating Your Career as a Business #Audio + Music #Steve Rennie

Doing something you’re passionate about and making a living out of it is a difficult thing to do. Especially considering the long odds in the music business. But with a focused, business-minded approach to your career, you can optimize your chances for success. In this installment of An Insider’s Guide to the Music Biz, Steve Rennie explains how to approach the music business with the mindset of an entrepreneur and look at a career in music as a business.
He talks about hobby versus career and the key elements of success in the business world, from distribution and marketing to management and finance. He gives you some thoughts about how you apply those things to your music career. Since successful businesses don’t happen overnight?they develop over time in identifiable stages?Steve also covers the stages of development in the business life cycle and how that applies to your music career. Last but not least, he offers tips on drafting a band agreement that will keep the relationships professional and strong.

LEVEL –  Beginner

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Instructor’s Welcome Note:

– If you go to Google and type in definition of hobby here’s what you’re going to find, a hobby is an activity done regularly in one’s leisure time for pleasure. Hobbies come in all flavors. For lots of folks playing sports is their first hobby, perhaps you played baseball, or basketball, or football back in high school or college. Maybe you’re like me and you love golf, and so you get together with some of your friends or your coworkers on the weekend and you play. Maybe you’re not a sports fan and you like working in the garden growing roses.
Maybe you’re a creative type and you love taking pictures or making videos and posting them to YouTube and Instagram for your friends and family to enjoy. Maybe you’ve got a special interest, politics, or technology, or music that you love to write about, so you become a blogger. Whatever your passion is hobbies are what you do for fun, hobbies are what make you feel good. For lots of us hobbies are a bit of an escape, they’re a diversion from all the pressure that most of us feel living in today’s world.
For lots of folks though our interest in music starts as something of a hobby or a special interest typically when we’re young. We hear a song on the radio and we want to sing it, we want to learn how to play it, we want to find out more about that artist, and we develop a list of our favorite artists. And our musical taste becomes one of the ways we develop our own identity as a young person, but for some of us it’s different. We see a singer on TV or we read a story about a music mogul and we want to actually be them.
We want to take our passion for our hobby, for music and make it our life’s work. If you go to Google and type in definition of a career here’s what you’ll see, a career is an occupation undertaken for a significant period of a person’s life and with opportunities for progress. It might be better known as your profession, your occupation, your job, your vocation, your line of work, your calling, whatever. Quite differently from a hobby, a career is your job. It’s what you do to pay the bills.
It’s what you do to pay for all those great, fun hobbies. When somebody at a party asks you, what do you do for a living? You tell them I’m in this business, I’m a doctor, I’m a lawyer, I’m a musician, I’m an artist manager. One of the most important and the first decisions you’re going to have to make is deciding whether your love of music is a hobby, something that makes you feel good, or is something you want to make into your career. If you want to make a career in music it’s going to require a whole different level of commitment and sacrifice.
It’s going to require an honest assessment of your skills, your resources, and your determination. It’s going to require an honest look at exactly what you’re getting into and what it takes to make it happen. This music business is tough, the chances of success are small. While more often than not that hobby will be fun and you might actually be really great at it, there’s no guarantee that you’ll be able to turn your love of music into a career. That said, if you can turn your passion for music into a career like I’ve done, there is no greater feeling in the world than to say I make a living doing what I love.

 

 

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#FREE Up and Running with Ableton Operator #Audio + Music #Ableton Live

Many people use the synthesizers included with Ableton Live to create music these days, and Operator is one of the most popular. Operator uses frequency modulation (FM), a type of synthesis that lets you create a wide variety of sounds, from mellow to aggressive. In this course, author Rick Schmunk explains how to get the best sounds from this fantastic virtual synth?available only in Ableton Live. He starts with how to create sounds using oscillators and sculpt the sounds with filters. Next, he creates motion in the sounds using modulation. Rick wraps up the course with demonstrations on how to create a number of archetypal FM synthesizer sounds: processed EP, house bass, screaming lead, and more.

LEVEL –  Intermediate

COURSE TOPICS:

Choosing an oscillator waveshape
Customizing oscillator waveshapes
Sculpting sound with filters and filter envelopes
Creating motion with LFOs
Creating process EP, house bass, ambient FM, and other synth sounds

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Instructor’s Welcome Note:

– If you have access to the Exercise Files used throughout this title, they are organized in folders for each chapter. Within each chapter, there are live projects for many of the videos. Inside the live project folder, you’ll find an Ableton live set. For Chapter Two, the live sets contain the finished sounds discussed in the videos. If you don’t have access to the Exercise Files, you can follow along from scratch with your own assets. Now, let’s get started with Up and Running with Ableton Operator.

 

 

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#FREE Music Production Secrets #Audio + Music #Pro Tools

Music Production Secrets is a weekly series with Tape Op magazine founder and Jackpot! Recording Studio owner Larry Crane. Every Friday, Larry provides a new technique for tailoring your effects, gaining sonic control, and opening new creative doors during mixing and tracking.
These tutorials work with any DAW, in almost every recording scenario, and are based on Larry’s 20+ years of experience recording, producing, and mixing some of the world’s best musicians, including Sleater-Kinney, The Decemberists, Elliott Smith, She & Him, Jolie Holland, and Stephen Malkmus. Tune in every week for another tip.

LEVEL –  Appropriate for all

COURSE TOPICS:

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Instructor’s Welcome Note:

– I don’t always get the best sources to mix from on some occasions, and when I counter, like, a real mid-rangy vocal, say, recorded on kind of a cheaper mic or something, I like to try to find a way to control it and make it work in the mix a little better. Here’s one where I specifically recorded my friend, Erin Sutherland, singing through a really cheap mic that I found in a electronics supply store one time. It looks like a little silver bullet, and it sounds pretty funny.
So let’s check this out against the music track. (soft music) ? I can’t seem to ? to remember you ? – So it’s a cool effect. You know, that could be something you would want to have happening in a track, but maybe it’s something you don’t want to have happen in a track. Let’s go over here. We’re going to solo that vocal sound. ? I can’t seem to ? – And one of the things that I notice with the cheap mic or a real mid-rangy mic is you get those peaks.
Notice like the s, and the t, and stuff jump out at you. When I was working on a track for Elliot Smith a number of years ago, I really wanted to make it sound more there’s vocal in this track, to sound more like the stuff on the rest of the record, and I started doing layering up a couple of DSers, and I’m going to show you the same way here how we can do that on Erin’s vocal. I really like working with the Massi DSer here. It really, to me, it’s real easy to control, and it’s effective.
Sometimes DSing, I’ve got some hardware DSers, for instance, that they don’t always work on a track. It’s basically a compressor that detects the frequency and then reduces that frequency or the whole track at that point. So it’s a picky sort of device, and I find that this plug-in works really well. I’ll show you how I’m going to set it. ? I can’t seem to ? – When you have the frequency knob down, it goes into listen mode.
So notice that we’re hearing what we’re reducing. Play that again. ? I can’t seem to ? – You hear those things that I was talking about getting reduced. Now the other button right here to check out is the band split button. So now that’s only going to reduce that frequency at those points. So listen to it soloed here. ? I can’t seem to ? To remember you ? – So see how that kind of cleans that up right there.
And what I’ll do also is make another copy of this plug-in. Let’s open that over here. I hit that little button right there, this red button, to keep two plug-ins open at once in case that’s something you’re wondering about. And this one we’re going to leave out of the band split mode. We’re going to reduce a little less of the frequency, and we’re going to go to a slightly higher frequency. So check how this works. ? I can’t seem to ? To remember you ? – And hear it in the track.
? You don’t need me ? To say it’s true ? You don’t seem to ? To remember true ? I don’t need me ? To see it’s you ? – And what I might do as well after this is do the slightest little EQ bump.
You notice it gets a little duller because we are technically kind of DSing even though we’re DSing in the mid-range. So let’s do this. ? I can’t seem to ? To remember you ? You don’t need me ? To say it’s true ? You don’t seem to ? To remember true ? – And notice how we just with subtle techniques there we can kind of tame those mid-range frequencies and make the vocals sound a little more high fidelity and actually sit in the mix and work better.
So keep this trick in mind. It’s using a DSer more like a multi-band compressor using two instances of it as well to kind of get more control. And then think about what you’ve done to the tone, and then reinvigorating that high end at the end of the process there. So definitely try this out for a real mid-rangy vocals or even guitars and stuff like that. You’ll find yourself DSing in the strangest places.

 

 

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#FREE An Insider’s Guide to Today’s Music Biz 04: Building a Professional Team #Audio + Music #Steve Rennie

Picking a great team of professionals is one of the most important and impactful decisions you are going to make in your music career. Steve Rennie knows music professionals; he has over 35 years in the music business. His series, An Insider’s Guide to Today’s Music Biz, teaches the ins and outs of the music business to bands, managers, and songwriters. In this installment, you’ll learn about the key players you need on your team and what they do, how much they get paid, how you find them, and when you need them. It starts with perhaps the most important member of your team, the manager. Steve also explains the role of lawyers, agents, business managers, publicists, and the digital team in charge of PR, social media, and other online distribution and promotion strategies.

LEVEL –  Beginner

COURSE TOPICS:

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Instructor’s Welcome Note:

(marimba tones) – If you’re going to succeed in this music business, whether you’re an artist or a professional, you’re going to need some help. So that means building a team. In this lesson, we’re going to talk about who the key players of your team are, what they do, how much they get paid, how you find them, and when you’re going to need them on the team. First let me tell you why it’s so important to build a great team around you. In the music business, everything starts with a great song.
But, the decisions you make after that music is made will have as big, or perhaps even bigger impact on your success or failure. So picking a great team of professionals is one of the most important and impactful decisions you’re going to make. Success in the music business is going to require that lots of moving parts come together at the right place at the right time. First, you’ll need to make that great music. Once you’ve made that music, getting the word out to fans and starting to build the fan base is important, so you’ll need to start marketing and promoting that music.
You’ll want to start building a touring business. You’ll need to be negotiating contracts for record deals, publishing deals, management deal, band member agreements, songwriter agreements and more. Once that money starts flowing, you’re going to need to keep track of all those finances. And each of those key areas are a full time job on their own. And all of them are going to need to come together at the right time for you to be successful. Getting your team together is important, because having a great professional team will provide you with valuable knowledge and perspective in those important areas of your career and lead to better decisions, which can maximize your success and extend your career in this business.
Having a great professional team in place will allow you to focus 100% on the music. You’re going to want to have experts in all of those key slots. Experience working in this music business is a huge asset. When things do happen in this music business, they move very fast. So everybody needs to be executing and your team needs to stay up with or ahead of the game. You won’t have time for folks that are auditioning or learning on the job. So let’s talk about who those key players are.

 

 

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#FREE Up and Running with mental ray in 3ds Max #3D + Animation #3ds Max

Meet mental ray, the render engine of choice for many 3ds Max users. In this course, Brian Bradley covers the basic and not-so-basic features of this production-proven renderer. The mental ray workflow, Arch & Design materials, lighting tools such as the daylight system and exposure controls, global illumination, and the Unified mode sampling options are all examined. Last but not least, Brian covers the creation of render effects such as caustics, depth of field, and motion blur.

LEVEL –  Intermediate

COURSE TOPICS:

Setting mental ray as the render engine
Working with ActiveShade mode
Using Nvidia’s imf_display tool
Creating a daylight system
Controlling the mental ray sun and sky
Using Final Gather and photons, both individually and together
Working with diffuse, reflective, translucent, and other materials
Controlling render quality with image sampling
Working with displacement mapping
Using proxies

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Instructor’s Welcome Note:

Hello, and welcome to up and running with Mental Ray in 3ds Max. My name is Brian Bradley, and I’m really looking forward to spending some time helping you become familiar with what, for many, has become the default production renderer of choice in the 3ds Max application. In Chapter One of the course, we will cover some of the basic and not so basic aspects of Mental Ray workflow. Including a look at using the String option, Active Shade, and imf_disp tools that Nvidia have made available to us.
In Chapter Two, we will start to dig into Mental Ray in earnest by taking a look at some of its well-established and key lighting tools. For instance, the Mental Ray Sun and Sky and Exposure controls. Along with a consideration of some of the newer lighting options that’ve also been made available, such as the excellent IBL Skylight mode. From there, we can really pick up the pace, as it were, and look in successive chapters at Mental Ray’s primary global illumination tools. The arc and design and car paint materials, the powerful new unified image sampling engine.
And then finally, in Chapter Six, we can spend some time working with important render effects options such as depth of field, caustics, and render time displacement, to name just three. If you are ready to get up and running with Mental Ray in 3ds Max, then let’s go ahead and dive right in.

 

 

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#FREE SketchUp for Interior Design #CAD #SketchUp

SketchUp is a great tool for quickly visualizing an interior design project. Ed Cotey shows you how to develop a floor plan quickly, using an imported AutoCAD file and a number of SketchUp tools to build the walls, insert doors and windows, create and use materials, and apply special effects such as styles and shadows. Plus, learn to set up scenes for use in client presentations.

LEVEL –  Intermediate

COURSE TOPICS:

Drawing 2D floor plans in SketchUp
Selecting the right template and tools
Creating components
Cleaning up walls and creating door and window openings
Using x-ray views when adding doors and windows
Using layers to manage your views effectively
Capturing materials to use in your design
Applying materials to components
Exporting your drawing as an image

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Instructor’s Welcome Note:

Hi, my name is Ed Cotey, and welcome to SketchUp for Interior Design. This course is directed towards you, the interior designer, who has an interest in, or wants to develop a workflow using SketchUp. This course contains a project based set of exercises that takes you through how to create a 2D floor plan and SketchUp. And then follows through with creating a 3D model of a small residence, focusing primarily on the kitchen area.
This will demonstrate how powerful of a program SketchUp can really be in giving your clients a rich and meaningful visual presentation. This course also covers how to use SketchUp tools in layers effectively. Strategies for creating components to add to your model. How to use and create materials. And setting up scenes that can be used in client presentations. So, if you’re ready, I am. So let’s go ahead and get started with SketchUp for Interior Design

 

 

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#FREE SketchUp for Architecture: Fundamentals #CAD #SketchUp

The SketchUp for Architecture series offers architects the information they need to get the most from SketchUp, the intuitive CAD alternative. This installment kicks off with an overview of the SketchUp interface and workflow, and dives into a typical residential building project, taking students from creating the site plan to building the walls, floor, and roof of a house. Series author Paul J. Smith also shows how to add detail elements like stairs and ceiling trim, and make models more realistic with materials. Plus, learn how to take advantage of the organizational features that make drafting in SketchUp so much easier?but that most designers never think to use.

LEVEL –  Intermediate

COURSE TOPICS:

Installing SketchUp plugins
Moving the model around
Creating sweeps and revolves
Importing a CAD site plan
Defining the site boundary
Building a massing model
Adding walls, doors, and windows
Adding the roof
Creating stairs with a handrail
Adding texture to your SketchUp models

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Instructor’s Welcome Note:

Hello and welcome to Sketch Up For Architecture. A video series with explanations and tutorials, on how to get the best out of Sketcher, when using it for architectural projects. My name is Paul Smith. And I’ve been using Sketcher since it was released for precisely this purpose. Over time, I’ve developed techniques that I now share with several hundred architectural and engineering students every year at the UK University. In this course we’ll be developing a traditional UK domestic house design, from a sight and contextual study, through, to the creation of walls, floors, and roof.
We’ll also be delving into details by making a set of timber stairs. During these tutorials, I will be explaining our to rationalize your work flow, to think like sketch up, and to use some of the organizational tools that barely see the light of day, and they can really enhance your sketch up experience. So, let’s move on to the next video, and discuss what you should know before watching this course

 

 

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#FREE 3D Textures: Metals #3D + Animation #3ds Max

Learn to draw metal textures from scratch with Photoshop and Illustrator. Join author Adam Crespi as he walks through generating galvanized and brushed steel textures, fashioning realistic screws and fasteners, and implementing your work in a flat galvanized framework, complete with vents and rust. Then, when your texture is complete, see how to link it to a metal material in 3ds Max and refine it with specular and diffuse maps.

LEVEL –  Intermediate

COURSE TOPICS:

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Instructor’s Welcome Note:

– Hi, I’m Adam Crespi, and welcome to Creating Textures: Metals and Metal Cladding. In this course, we’ll look at drawing metal textures from scratch in Adobe Photoshop and Illustrator. I’ll start by showing you how to generate galvanized steel and brushed steel, then I’ll show you how to create screws and fasteners in Illustrator. We’ll see how to create a galvanized metal framework, and panels along with a vent, and put fasteners onto it. I’ll be covering all these features, plus plenty of other tools and techniques. Now, let’s get started with Creating Textures: Metals and Metal Cladding.

 

 

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#FREE Creating Cityscapes in Maya #3D + Animation #Maya

Follow along with Adam Crespi as he designs, models, and renders a detailed cityscape with Maya. After gathering reference materials, Adam designs the basic structure and components of the city in Adobe Illustrator, generating reusable symbols to represent trees, lights, and buildings. With the plan in hand, Adam dives into Maya, creating proxy objects as he lays out the city to scale. Each element is then set up as a reference object and duplicated throughout the scene, using containers and mental ray Proxy objects. The final chapter shows you how to add a matte-painting background to your scene and check the composite in Nuke. Adam also includes a bonus movie featuring a real-world example project: a simulation of a crane moving on a studio backlot.

LEVEL –  Intermediate

COURSE TOPICS:

Conceptualizing the city
Planning the city in Illustrator
Drawing buildings
Laying out the city grid and buildings
Creating tree and lighting elements
Building a reference structure
Creating referenced objects
Exporting layer markers for compositing

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Instructor’s Welcome Note:

– Hi, I’m Adam Crespi. And welcome to Creating Cityscapes in Autodesk Maya. In this course, we’ll look at the planning, design, and reference for a city. I’ll start by showing you how to gather reference, and analyze the different conditions we see in existing cities to form our new ones. Then, we’ll use Adobe Illustrator to plan out our city, making a series of symbols that we can then make a city plan and know what we need to build in 3D. We’ll see how to create references in Maya.
We’ll also look at containerizing assets, and, finally, using a mental ray proxy. Once we have our city together, we’ll take a rough version into Nuke and make sure that the 3D camera moves and matte planes we’ll create match up with the rendering, testing out our compositing and matte painting. We’ll be covering all these features plus plenty of other tools and techniques. Now, let’s get started with Creating Cityscapes in Autodesk Maya.

 

 

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#FREE Building Curtain Walls with Revit #CAD #Revit Architecture

This course examines one of the best features Revit has to offer: curtain walls. Though they’re not structurally significant, curtain walls are important to a building’s design aesthetic and the comfort of its occupants. There are many different types of curtain walls out there; Revit offers just as many different ways to build them to fit your needs. Eric Wing starts this course with a look at Revit’s simple, preconfigured walls, and then moves on to customizing blank curtain walls with different panel materials, mullions (load-bearing, structural supports), and nonlinear grid patterns. From there, you’ll learn to create your own mullion family from scratch. Finally, graduate to massing free-form curtain walls with custom volumes, panels, and spider fittings. With Revit and these tutorials, you can create some really cool systems!

LEVEL –  Intermediate

COURSE TOPICS:

Adding an imbedded storefront wall
Configuring and moving grids
Working with radial curtain walls
Adding mullions and doors
Editing the curtain wall profile
Adding framing and spider fittings
Creating custom mullions
Building a free-form mass
Creating pattern-based panels

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Instructor’s Welcome Note:

(bell tone) – Hi, I’m Eric Wing and welcome to Curtain Walls in Revit. In this course, we’ll look at how to model a variety of different Curtain Walls styles ranging from the three default Curtain Walls to pyramid shaped panels attached to a free form massing element. I’ll start by showing you how to properly configure and lay out three different types of Curtain Walls. Then, I’ll show you how to model custom Curtain Walls with non-linear patterns and angled perimeters.
We’ll learn how to add custom mullions, panels and spider fittings to make your Curtain Walls pop. We’ll be covering all these features, plus plenty of other tools and techniques. Now, let’s get started with Curtain Walls in Revit.

 

 

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#FREE 3D Textures: Brick #3D + Animation #3ds Max

Join Adam Crespi in this installment of Creating Textures, as he takes you through the steps needed to create realistic brick textures in Photoshop. First you’ll create the base materials for three different types of brick?water-struck, sand-struck, and wire-cut brick?all of which have a distinctive look. Next, you’ll lay out the bond pattern and add color variations, and then build a grayscale version of the pattern to convert to a normal map for use in almost any 3D modeling program. Finally, Adam shows how to put your textures to work, modeling and mapping a brick wall and arch in Maya.

LEVEL –  Intermediate

COURSE TOPICS:

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Instructor’s Welcome Note:

– Hi, I’m Adam Crespi, and welcome to “Creating Textures: Brick and Brick-Bond Patterns”. In this course, we’ll look at creating different bond patterns for brick, as well as different brick colors, mixing in multiple colors in each brick. I’ll start by showing you how to lay out the bond pattern, looking at the size of the brick and the mortar joint. Then, I’ll show you how to draw a grayscale mortar joint, and a brick that will convert really nicely into a normal map. We’ll see how to create a brick arch in Autodesk Maya, and apply the textures we’ve created.
We’ll also see how to map them on to get the brick to flow around those walls properly. We’ll be covering all these features, plus plenty of other tools and techniques. Now let’s get started with “Creating Textures: Brick and Brick-Bond Patterns”.

 

 

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#FREE Creating Revit Templates: Annotation #CAD #Revit Architecture

Why start from scratch every time? Learn how to build custom Revit templates and reduce the time you spend setting up and modeling projects. In this course, the first in the series, Paul F. Aubin shows how to adjust Revit template files?whether you use them out of the box or create your own from scratch?to include all of your firm’s custom annotations. In the first half, he’ll show you how to include levels and grids, define views with scope boxes, and work with multiple unit systems. The second half of the course explores customizing elevation and section tags, keynotes, arrowheads, and other common annotations, and choosing graphic elements like fonts and dimension types to match your office guidelines. So take the first step; configure your Revit templates with consistent annotations for more professional office standards and high-quality project deliverables.

LEVEL –  Intermediate

COURSE TOPICS:

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Instructor’s Welcome Note:

(piano music) – Hello, my name is Paul F. Aubin and welcome to Creating Revit Templates: Annotation. In this course we’ll focus on the annotation aspects of a Revit template. I’ll discuss the best ways to start your template using either a provided template that comes from AutoDesk or by starting from scratch and building your own. We’ll look at levels and grids, and talk about how we can use Scope boxes to define the extents of those items. We’ll discuss project units and talk specifically about what happens if your firm works in more than one measuring system.
We’ll look at text and dimension types, and discuss issues like fonts and the tick types that you use and all of the little nuances that help you customize the graphics. So if you’re ready to start customizing your Revit experience by building your own custom office standard template, you’ve come to the right place. Let’s begin.

 

 

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