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lippalooro · 3 years

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shinywizardwerewolf · 4 years

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Jaksta Media Recorder For Mac

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Are you having problem to record video on a Mac? You come to the right place as this article will solve your problem.

For Mac users, now is the right time for you to learn how to record video on Mac with the use of Jaksta Media Recorder. It is a piece of software that you can use to download streaming videos and music online and convert them to any format you want.

You can convert and download your desired videos from popular sites such as YouTube, Facebook, Grooveshark, Google video, Pandora, adult sites, online radio, music sites, TV networks, Live webcam sites, training video sites, and many more. You can also convert your files to several output options including MP3, avi, wmv, playback for Apple/iTunes and mobile devices, video editors, and so on.

So, this is really one of the excellent choices for you if you are intend to record video for Mac. Get Jaksta Media Recorder Now!

How to Use the Jaksta Program Exactly?

The process on how to capture video on Mac is easy. First, you have to open the application and click start. Any music file or video clip you play on your web browser will be downloaded. You may also click the on and off button at the bottom of the interface.

If Jaksta is actively monitoring, the Mac video capture process and the on and off slider will be in the off option. The menu bar of your browser will also have Jaksta status info. This will allow you to start or stop the application any time you desire.

If the on and off slider is in the on position and you don’t want to download video or music files, just turn it to off position and the application will stop its operation immediately. When applying the steps on how to record video on Mac, always check your internet connection and ensure that it’s connected to avoid any errors.

Why Jaksta is the Best Media Recorder for Mac?

Here is the list of the reasons as to why it is a must-have streaming media recorder for Mac users:

It is very simple to use. All you have to do is to open the software, then play the video you want to capture on your browser.

It’s like a two-in-one application. You don’t need to download a converter just to convert your downloaded video files into the format you like.

It works 10 times faster as compared to other downloader in the market. However, it depends on your internet connection. So, if you want to have your own copy of video instantly, then check connection in the internet.

Your downloaded video and converted file is the same as the original. It is like having your own original copy in the fastest and cheapest way.

It is capable of automatic conversion. Just pick your desired file and let the software do the conversion for you. Once the video file was downloaded, all you have to worry about is its destination.

Helps you find the best sites where you can choose your desired video or music genre.

It is that it’s browser-independent. It runs fine on various web browsers such as Mozilla Firefox, Internet Explorer, Chrome, Opera, Safari, and other browsers.

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Jaksta Media Recorder For Windows

Let’s See the Jaksta Features in More Details

This software will not just benefit you on how to record video on Mac, but will also ease away problems regarding its operation, as its support is one of the best.

Great Youtube Downloader

It works well with many popular audio video sharing sites like YouTube, Video, Dailymotion, myfreecams, xvideo, youporn and thousands of other sites. In fact, Jaksta Media Recorder is among the best youtube downloader for Mac OS X.

Fast Speed, High Quality Recording

You can also capture songs on different music sites including Grooveshark and Pandora. To do so, just play the video or audio, and Jaksta will copies the file directly from the original host. It captures video 10 times faster than playback time.

Support All Common Formats and Protocols

Jaksta is probably the easiest program to help you capture video for Mac and have your own copy of any video or song. It also supports almost all common protocols and formats such as http, flv, rtmp, icecast, swf, mp4, mp3 and more.

Automatically Converts to Any Formats and Devices

Moreover, the captured video will be automatically converted into any format i.e. mp3, mov, mpeg-4, avi, etc and devices available today like ipod, iphone, ipad and Apple TV.

In addition to that, if you want your converted file to be saved on your iTunes, there’s an option you can choose from. To avoid interruptions or inconvenience when using the application, your computer must have an Intel processor and must run Mac OS X version 10.6 or later.

Still Un-decided? Trial the Jaksta Media Recorder for FREE Now!

If you are still looking for some ways on how to record video on Mac, then settle down because this well-known tool will the best solution to your concerns. You may take this for granted due to the vast choices of downloader and converter, but once you have tried it, your world will never be the same again.

You will live an easy life in capturing videos online and downloading music files in the internet. No other streaming media recorder can do what it does. Download the trial version of Jaksta now and witness its turbo capture speed.

Any Mac users can download the said free trial version for them to test the effectiveness of the application. The trial version is only good for a short period of time. Many users of Jaksta highly recommend the product. It’s time for you to purchase the product today!

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projectofnapskintprojectofnaps · 23 days

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PSP Audiowareの「PSP Saturator」を使って、アナログの温もりをデジタルで実現する方法を徹底解説。

基本設定からプロのテクニックまで、初心者でも分かりやすく解説します。

#dtm #sale

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dpgold · 5 years

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My journey continues….

(Page 2014)

This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: 5th Observation Part c

Whilst I was making headway with the development of my music praxis – significant headway in my opinion – , my actual production plan still did not have the degree of clarity I had hoped for after four (4) weeks. I therefore decided to go through each step of my Praxis v5a in terms of my production process, deliberately and systematically.

Figure I – Praxis v5a (Page 2016b)

In following this process I made my 5th Observation.

Figure II – 5th Observation (Page 2017)

Practice

Of the five (5) stages of practice, I was in the first stage of creative practice: the creative stage.

Creative Stage

Pre-production Stage

Production Stage

Post-Production Stage

Distribution Stage

In the creative stage, I brainstormed a number of Project 1 creative ideas based on my project brief. The five (5) track EP was to be representative of some aspect of my life: past, present or future envisioning.

Site

The next element listed in my Praxis 5a was site.

“Listening to the making of ‘Dark Side of the Moon’ (with Alan Parsons as engineer), I ponder…. Unlike so many US bands of the time whose core attraction was the live performance, Pink Floyd and other British bands I was predominantly listening to and influenced by, effectively used the studio as their stage” (Page 2016c; Gallagher 2012; Price 2015; Ryan & Kehew 2006)

For me, I had always been a performer. In the tradition of US bands, my core expression was on stage in a live performance. I had recorded specific music styles that I knew could translate easily to the live sound context – the stage in a venue. However, the musical style I was focussing on here – psychedelic rock – clearly had demands for different types of technology required.

The music style I was pursuing was inspired by British-based psychedelic rock artists of the late 1960’s and early 1970’s. The site of these performances were in the studio, and therefore each of these creations were done with the aid of studio-based technologies.

Technologies

In order for me as an artist/performer to be able replicate and reproduce the range of studio-created music and sonic tones, I was going to need access to these devices. I pondered: how was this to be done in the production process effectively and efficiently?

I had at this time access to an elaborate range of virtual technologies third (3rd) party plug-in instruments and processors. These included replications of many analogue devices of the particular production era I was focussed on – late 1960’s and early 1970’s – , including instruments such as synthesisers; and audio processors in the three categories of spectral, dynamic and time-domain.

Figure III – 3rd Party Plug-Ins by Manufacturer (Page 2016d)

Whilst I had access to some of the more notable manufacturers such as Eventide, Lexicon and SSL; along with access to a broad range of more recent notable manufacturers such as AIR Music Technology, Antares Audio Technologies, Avid, East West, IK Multimedia, Massey Plugins Inc, Native Instruments, PSP Audioware, Sonixvox, Sonnox, SoundToys, XILS-Labs and iZotope; I wondered whether the virtual technology replications were going to allow me the dense layering of the textures required for the psychedelic music style. Analogue processing devices were well regarded for their warmth of tone and range of sonics, with music recorded with such equipment often characterised with aesthetically pleasing device-induced distortion, hum and other noise associated with imperfect analogue devices [1].

Technology – Stage versus Studio

Of the technology I could readily access – contemporary equipment of analogue, digital or digital virtual devices – either within my studio, at either the SAE Institute studios (as a full-time Senior Lecturer), or at the QUT studios (as a post-graduate research student) what was going to assist me in this process? My mind wandered considering many options.

My performance live rig was quite elaborate for its function to reproduce typical guitar-based rock music. With other floor-based – analogue and digital – devices, and a broad range of analogue guitar amplifiers, my live rig setup was flexible. With a range of – mostly digital – dynamic, spectral and time-based processors, I could reproduce and sculpt just about any music and sonic tone to reproduce just about any contemporary organic rock-type sound in a performance situation, on stage. In addition, I also have a range of guitar emulators – such as the Fractal Axe-FXII – that allowed me to bypass the use of any guitar amplifiers, and go directly into a venue’s PA system, exponentially expanding the music and sonic palette I could access.

Figure IV – Live rig (Page 2016e)

However, psychedelic rock music was more complex, with multiple textures and layers that occurred often simultaneously. Was my rig in its current form going to be sufficient? Whats more, if I did create psychedelic-based music in my studio – with multiple textures and layers – using my wide range of digital virtual devices complex, how could I effectively and efficiently reproduce these in a live performance context? Perhaps I needed to develop my current studio technology, expanding my current quite limited studio rig of outboard processors.

Figure V – Studio rig (Page 2016f)

I needed to research and consider pieces of equipment that will complement what I currently have, and what I need to fuse my performance and recording of my craft, avoiding a valley or void between the two very important aspects of my music-making practice….. two aspects that have not met before: stage and studio equipment. I decided that what I didn’t want to do was, was create a studio album that I could not then easily replicate in a live performance. I had always been a performer, and to be able to perform congruently to my recording was a major motivator for me as an artist.

I was clearly invested in this pre-production stage of the music-making process. I needed to consider how I was going to approach the production and what equipment I would use for best effect. It was obvious to me how necessary it was for me to continue to immerse my self in two ways: the sourcing of more textural artifacts discussing the recording techniques in that era (books – The Beatles, Pink Floyd, articles on Molly Meldrum, etc); and also researching a range of equipment that I acquire, that would supplement the equipment I already had, that could more effectively replicate the sounds of psychedelic rock, that I could add to my performance rig. Yes, I desired a rig that I could effectively roll from my studio, onto a stage; and once that performance was complete, to then roll the same rig from the stage, back into the studio. It was my goal to be able to replicate all aspects of my musical and sonic creations in any of my performance locations – on stage, or in a studio.

Footnotes

[1] There are countless testimonies heralding the desired qualities and characteristics of analogue devices across decades of music and sound equipment, and cultural production reviews. However, three more recent acclaimed cultural productions detailing the historical significance of such devices and production workflows are: Ryan & Kehew’s 2006 book “Recording the Beatles: the studio equipment and techniques used to create their classic albums”; Guggenheim’s 2009 “It Might Get Loud” starring Led Zeppelin’s Jimmy Page, U2’s The Edge and The White Stripes’ Jack White; and Grohl, Monroe and Young’s 2013 documentary “Sound City” about a Los Angeles studio during the 1970’s and 1980’s where a number of East Coast artists had hits with records recorded and produced at the facility. These artists included Buckingham and Nicks, Rick Springfield, Fleetwood Mac, and Tom Petty and the Heartbreakers.

This blog series is planned to continue next month with Doctoral Pilot Study Part 3a (Page 2016g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

Gallagher, Mitch. 2012. “Studio legends: Alan Parsons on “Dark Side of the Moon”. Accessed 4th February, 2016. http://www.premierguitar.com/articles/Studio_Legends_Alan_Parsons_on_Dark_Side_of_the_Moon.

Grohl, Dave, Mark Monroe and Neil Young. 2013. Sound city. Sony Music Entertainment. DVD.

Guggenheim, Davis. 2009. It might get loud. Sony Pictures Classics. DVD.

Onion image courtesy of: Onion Layers Accessed 15th December, 2014

Page, David L. 2017. Figure II – 5th Observation image courtesy of David L Page Created 10th June, 2017

Page, David L. 2016g. Doctoral Pilot Study – Part 3a Accessed 5th March, 2016

Page, David L. 2016e. Figure V – Studio rig image courtesy of David L Page. Accessed 29th February, 2016

Page, David L. 2016e. Figure IV – Live rig image courtesy of David L Page. Accessed 29th February, 2016

Page, David L. 2016d. Figure III – 3rd Party Plug-Ins by Manufacturer image courtesy of David L Page. Created 29th February, 2016

Page, David L. 2016c. Doctoral Pilot Study iNotes Accessed 29th February, 2016

Page, David L. 2016b. Figure I – Praxis v5a image courtesy of David L Page. Created 31st January, 2016

Page, David L. 2016a. Doctoral Pilot Study – Part 2b Accessed 17th February, 2016

Page, David L. 2014 image courtesy of David L Page Created 15th December, 2014

Practice image courtesy of David L Page Accessed 4th February, 2016

Price, Andy. 2015. “The Making of Pink Floyd’s Dark Side of the Moon.” Article. Accessed Feb 4 2016. http://www.musictech.net/2015/06/landmark-productions-pink-floyd-the-dark-side-of-the-moon.

Psychedelic Rock image courtesy of Ultimate Guitar.com Accessed 5th February 2016

Ryan, Kevin and Brian Kehew. 2006. Recording the Beatles: the studio equipment and techniques used to create their classic albums. London: Curvebender.

– @David L Page 29/02/2016

– updated @David L Page 05/03/2016

– updated @David L Page 10/06/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 2c My journey continues…. (Page 2014) This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

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