Muse acts as your real time meditation coach. Its advanced EEG sensors can detect when your mind wanders and give you gentle audio cues to bring your focus back to the present. Helping you ignore distractions and achieve deeper levels of concentration and focus when meditating than ever before.

As part of this special offer, your purchase includes full access to 365 days of premium content within the Muse mobile app. 

 

 Your premium subscription will renew in one year at a discounted rate off of the Premium Subscription full price. If you do not wish to pay for this access past the free year, you can cancel your subscription via before your renewal date.

 

 Should you decide not to renew your premium subscription at the end of your term, you will lose full access to:


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The Charles M. Schulz Museum and Research Center collection features audio-video material produced by the Museum. This includes footage of Museum programming, such as lectures, presentations, and special events. This collection also includes various examples of video promoting the Museum, audio-visual exhibit elements, and oral histories and interviews of friends and business associates of Charles Schulz.

The Interactive Multimedia collection features computer and video games designed for multiple platforms, mobile phone games, read-along records, read-along tapes (Worlds of Wonder), audio books, and View-Master reels.

The majority of the Foreign Language collection consists of animated specials created for distribution outside the United States and also includes domestic and/or foreign productions of interviews, exhibition materials, promotions, commercials and marketing spots, documentaries, music, and video games. Some of the languages represented in this collection include Japanese, German, Thai, Swedish, and Spanish.

Muse make increasing use of backing tracks when performing live. A "backing track" is a recorded track that the band play along to, in order to add extra layers to their music, which cannot be played by only three people. This includes, for example, the orchestral strings in songs like Butterflies & Hurricanes and Unsustainable, the synthesizer arpeggios in Bliss and Starlight, the "I Want It Now" backing vocals in "Hysteria" and the speech in Psycho. The tracks are usually played through an off-stage computer, together with a click-track. For the Origin of Symmetry era and (especially) the Absolution era, the band had to rely solely on backing tracks for additional instrumentation. Since Black Holes & Revelations, the band hired Morgan Nicholls to help with additional instrumentation on most of the songs, cutting the need for more backing tracks, while also making the songs performed live sound a lot closer to their studio versions.

As mentioned above, backing and click tracks are operated live via an off-stage computer-based playback rig (multiple playback rigs/computers are usually used for redundancy reasons, in case anything fails on the main playback rig). The playback rig also runs audio messages, which inform the crew of changes which happen during the gig.

A "concert bass drum" (also known as "grand casa" or "grand tamburo") is a larger-than-usual bass drum, usually used in orchestral music. It is attached to a special mount, allowing the performer to hit it with a mallet or a stick. Compared to usual bass/kick drums, a concert drum is set up so it usually sustains much longer. It is the largest drum of the orchestra.

The SACD edition of the Hullabaloo album is Mushroom Records first SACD release. However, we should make it clear that the Special SACD edition is a bit unusual. In the special edition, Disc One remains a Stereo CD while Disc Two is a Hybrid Layer Multichannel SACD which is playable on CD and SACD equipment.

A dedicated worldwide community of passionate audio lovers have collaborated to make Audacity the well-loved software it is today. Many third-party plugins have also been developed for Audacity thanks to its open source nature.

Audacity supports import, export and conversion of files in every popular audio format, including mp3, m4a, AIFF, FLAC, WAV and more. In fact, you can just use Audacity to convert files into different formats if you like.

If you are the sole creator of the audio project, the intellectual property rights and mechanical copyright is retained by you. Similar to other UGC (User Generated Content) platforms, by using audio.com you grant a license to host and show your work. You are also free to distribute your work on other platforms, if you wish. For more details read the full Terms & Conditions.

In 2020, we joined with the makers of Ultimate Guitar, MuseScore and others to form Muse Group, with a mission to empower millions of creatives all over the globe. Since then, our sister service audio.com launched.

In the early days of 2000 Werner Schweer released the first version of MusE as the package muse-0.0.1.tar.gz. Init's first few releases (actually not few, Werner relentlessly churnedout new releases) MusE was only a midi sequencer. The target was tocreate a fully fledged midi sequencer for the Linux operating system.Over the years audio was added among with other things implemented andsometimes abandoned. Today MusE is a stable and feature rich musiccreation environment which strives to encompass most of the musicrecording process, creation, editing, mixing, mastering.

CTRL refers to the control key on thekeyboard, e.g. CTRL+C means to press andhold the control key while pressing the c key. Make sure you know whereyou have it so you won't accidentally lose control (bad jokes are thebest jokes, so say we all!).

SHIFT refers to the shift key on thekeyboard, see above for usage

ALT refers to the alt key on the keyboard,see above for usage

$> is used as a generic definition for a terminal prompt. When themanual lists a command that shall be typed, the prompt is not part ofthe command.

Keys are always referred to in bold uppercase, e.g.A. For instanceSHIFT+A for the key a pressed together withthe shift key.

Sometimes terminal examples are written tabbed in with a fixed font tovisualize more closely what something looks like on the screen. E.g.

$> muse4

Install MusE from the repository of your chosen distribution. To getdecent performance start with the followingcommand in a terminal:

$> jackd -d alsa -d hw:0 -p 256

Or, if you prefer, use the launcher utility to get some help startingJack. After this, start MusE from the menu or fire up another terminaland type muse4.

If this didn't work out read on for the slightly more complete route forgetting things started.

MusE on the Linux platform supports midi through ALSA and jack-midi and audio through Jack and PulseAudio. For information on what hardware is generally supported there are some convenient places to check:

In the standard case MusE expects to find and connect to the Jack audio server Make sure Jack is installed (if MusE was installed with a distribution-package Jack will very likely already be installed). For Jack to run with best performance your system should be sufficiently tuned to allow it to run with realtime capabilities. The realtime configuration of the operating system roughly consists of two parts:

After installation, the binary muse4 is installed on your computer. If MusE was installed from a distribution repository the binary may have a different name depending on the distribution policies. Most distributions do however install a menu entry so MusE should be conveniently available from there.

Do note however that running with PulseAudio might not be good enough if you want to record in realtime and listening to what you are doing. The latency of PulseAudio (though not bad) is probably a bit much for playing along. The RTaudio/PulseAudio driver does not support latency reporting so no latency correction is possible (like with the Jack driver). For editing and mixing it is however perfectly usable.

This might be the time to bring up the concept of community support. Open source software could never be what it is without the support given by individuals on forums and mailinglists, if the information given in this document is not enough, try googling your problem and/or get in touch with one of the online forums for MusE or Linux audio in general. See some pointers in the Support section.

At this point we'll make a slight detour into full on audio recording. Getting audio out of MusE has already been covered in the previous chapters so we will concentrate on the additional steps needed to record sound onto an audio track.

When MusE is first fired up, the output track has already been created (more about this in the templates chapter), to proceed with audio recording we need to add two additional tracks, a wave track and an input track. When MusE is first started, right click in an empty space on the track view.

We are now nearly ready to start recording. First we need to select alocation to store the files as MusE does not use a centralized storage of soundfiles. MusE instead uses the path of the song-file (extension .med) as guidance as to where the audio files will be placed.

In the mixer click on the red record dot onthe Audio Track to ARM it for recording (or enable if you prefer). Now when there is audio coming into the input it will also show up on the Audio Track. Also note that all the input and output routing buttons on the tracks now have the same active color, this means that all of the tracks have a proper connection.

MusE projects consist of one .med file and any number of audio files, if recorded audio is used. As was noted in the quick start tutorial it is recommended to check the Create project subfolder if your projects will record audio files.

Note that this is for audio files that MusE creates, if you have external audio files that are imported into MusE it does not matter in this respect as MusE will reference the original wave file location. To make your project portable and more easy to backup it is however a good idea to put imported wave files in the project folder too, before importing them. 2351a5e196

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