YT for next: Youtube daily Aug 31 2017

hey guys Fx Razib here from graphics guru in this tutorial we are

gonna learn how to create nice 3d text effect in Photoshop so let's get started

first of all start the Photoshop and go to file new and okay now this is my

canvas and for this I have to create a text so I'm selecting the type tools

and writing any text you can use your own text here I can choose this text and

the distance will be 0 and the size will be 290 It's a huge size okay now I'll

change the color for this one I'm choosing this one go to this and go to here and there is a color and this

is the code color for this color I'll provide it in the in the description

double click on this layer and this layer style will be appeared then go

to Stoke and give a nice to like

this much this will be okay and okay now right click on this and create layer and

you will find out there's a black layer over there so first select this layer

and press ctrl on the keyboard and just click on this T okay so the inside text

is selected and then by selecting this layer you have to just PRESS DELETE for deselecting

Ctrl+D and now you can see if I invisible this layer you will found this

only the outline okay and now I have to create another text like you can do it

or your wish but I want to add another text first select the type tool

and click and select everything then press Ctrl + T on the keyboard and select

and color should be black for me and size will be like

extremely low

50 okay I Selected 50 and now okay the color will be same and spacing will be 780

It's a nice Spacing

capitalize or like this one okay so I got three layers so what we'll do we'll

first created one by one a 3d layer right-click and new 3d extended from

selected layer something some notice will be appear on your desktop just press

yes the interface will be change okay there is 3d selected select layer and

then go right click on this first drug this one the outline and right click and

create new extension from selected layer and then also go to layer

okay I'm just shorting these attributes press Ctrl on your keyboard and

Select both of those and Ctrl + E for

combining these two go to 3d you will find out two separate layers here it is

one and another is here so you can what we can do is we can go to effects

and just move inside you can move it or backward by clicking just like

this okay now I just put it some where I can see

and then go to layer again and right click on this RAZIB layer and also create

extension

I'll put it in the same way but now what I can do is just select both of this

and Ctrl+E to combined those and also there's another

thing what I should do is right-click on the background and create it postcard

and then select both of this Ctrl+E and something like this one will be Appear

on your screen don't do anything just go to 3D and go to render and it will take

some time so it is done so now what I do is right click on this layer and convert

to smart object OK so we found the effect and the desired look

so you can add some filter for this we can go to the Camera Raw filter and make

some adjustment like colors and like oh and also not too much but

it may be like this way some contrast and some highlights

okay some shadows you can do it by yourself and tastes you like

and some clarity and some vibrance could be like this one and highlight could be like this

it's your choice actually you can create your own 3D Text but the basic was

this and they can add some sharpening and luminance then I can go to change the

orange reddish and some minor adjustments such as aquas and blues and

also go to the split toning and give nice filter effect like

this way and go to the effects and

so this way we can create nice text effect in 3D hope the tutorial helps you

Don't forget to LIKE SHARE and SUBSCRIBE thank you guys Peace*

For more infomation >> 3D TEXT EFFECT In Adobe Photoshop - Duration: 9:15.

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Videocast: Chance for PM showers - Duration: 2:32.

For more infomation >> Videocast: Chance for PM showers - Duration: 2:32.

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The Triad we never talk about - but we play it all the time! - Duration: 11:02.

- Hi everybody, my name is Jens Larsen.

When we play jazz guitar,

we're using triads

all the time,

both in accompanying and in soloing.

And usually, the categories we work with will be

major, minor, diminished, augmented, and sus four triads.

But actually, there's one more

category of triads that ...

we don't really have a name for it,

but we use it all the time,

and it might actually make sense

to just think of it like that,

because then we have a structure

that we can add, both to ...

our accompanying and to our solos.

And that's what I'm gonna talk about in this video.

If you want to know more about jazz guitar,

about improvising over chord changes

and finding interesting arpeggios and scales,

then subscribe to my channel.

If you want to make sure not to miss anything,

then click the little bell notification icon

next to the subscribe button.

Just to illustrate how often we actually use this triad,

I'm just gonna play two cadences,

so you can see

where you might come across it.

In the first of the two cadences that I just played,

I'm using the triad that I want to talk about

on the Cm6.

So, the voicing I'm playing is ... this.

And the way we could look at this

is also that it's an Eb.

So, an Eb major triad ...

in the second inversion with a b5.

And in the second cadence, I'm using it on the G7.

And that's this voicing ...

And the way to see that is probably

as a B triad with a b5 again.

So, since we don't really have a name for this,

I'm just gonna call it in this case

like a B major b5 triad.

And in Dutch, you have a name for them,

they're called "Hard verminderd,"

but as far as I know,

there's no known name for it

in well, Danish or English.

So, if you know of a name, actually,

in any language,

then leave a comment.

I'm just curious if there's really no place

where there's a name for this, besides Holland,

because it is a fairly common structure,

and you will see it.

And also, you probably play this all the time ...

And this as well.

So, we use it so much that it's kind of strange

that it doesn't have actually a category of its own.

First, I'm going to talk about how you can use

these structures in your accompanying as chord voicings,

and then I'm gonna start later in this video

to talk about how you can use them

as arpeggios in your solos.

So, the first thing to start with,

if you want to use them as chords,

is probably just to check them out in inversions.

So, I'm gonna do that for the two top set of strings,

with a C major b5 triad.

So, that's gonna be first on the G, B, and E string,

and then on the D, G, and B strings.

That would sound like this:

The thing that we now need to look at

is where could we actually use this triad as a voicing.

So, there are, of course, several ways to do that.

Essentially, you can just take the chord,

and then go through different root notes,

and see which ones you think sound good.

And then, sort of figure out what chords they are.

I'm not really gonna do that in the video.

Instead, I'm just gonna go over some of the places

where I use this triad really a lot.

One of the first ones would be the minor sixth version.

So, in this case that would be an Am6.

I'm also using it quite a lot as a D9 triad.

And it works really well as an Ab altered sound.

And you can also use it

as sort of a phrygian B7 sus4, with a b9,

type of sound ...

And on occasion, you can also get away with using it as a

... As an F#, half diminished.

So, in this example, I'm using the C major b5 triad,

as an Am6 voicing.

And I'm just playing a cadence before, so there's ...

... there's a Bm7b5.

So, it's basically a D minor triad,

which I'm using,

and then we get this

E7 with a b9.

And then resolving that to the Am.

An example of using it as a D9

would be something like this:

And we can, of course, also use it

as an Ab7alt voicing.

So, here I'm using

this second inversion, C b5 triad

as the top part

of an Ab7, with a flat thirteen,

and resolving that to this Rootless D flat major seven.

I think there's a good chance

that you're probably already know

some of the examples that I just went over,

using the major b5 triad.

And, I think the way you want to think about this

is also then that if you start working

with the inversions of the major b5,

you might come across things that you don't already know,

and you might be able to quite easily

add something to your vocabulary, in terms of accompanying.

The same, of course, goes for soloing.

So, if we want to use

the major b5 triad for soloing,

we need to figure out how to first

just play the arpeggio.

I think there's all of two ways

that I would suggest

you try and play it in opposition,

if you want to play it from C here.

So, the first one would be this one:

because here I'm using that.

It's really just three notes,

and we could just move it up in octaves.

And the other one would be to play it more in opposition.

That could be something like this:

And of course, you should just use your own fingerings

as a starting point, to figure out

some major b5 arpeggios,

because that way you're probably gonna be closer

to ending up with something that you're already playing;

you don't have to check out

the ones that I'm using exactly.

In this example, I'm using the C major b5 triad,

as a part of a C7 altered line.

I'm using it in a melodic minor context, because of course,

C7 altered is the same as

Db melodic minor.

So, we have this scale:

And there are three places where you have

a major b5 triad in a melodic minor,

because you have one on C,

and you have one on E,

And one on Gb.

But, in this example, I'm just using the one on C,

just to keep it a bit simple.

The first part of the line is just in the G minor,

so that's just a Bb major triad,

and a scale run.

Then I play the C major b5 triad,

kind of echoing the idea on the Bb,

Skipping up to the root,

and then a small scale run.

Here, I'm using the major b5 triad,

as it is found in a diminished scale,

because, of course, if we have the diminished scale

that we associate with C7,

then that would be this scale:

And actually, we have that, we have the C

major b5 triad.

And that means that we actually have all four of them.

So, we'll have one for A,

Eb,

And G flat.

So, you can use those,

and that's what I'm doing here in the line.

The first part of the line is again,

on the G minor, just starting with a Bb major triad, so

in this pattern,

skipping up to the G

in our scale run.

And then on the C7,

I start with the b5,

and play the descending

major b5 triad.

Then, I just play that same

idea, but then from A.

So, I start on the Eb, so Eb,

C sharp,

And then A.

And then I use the C and the Bb

to resolve to the third of F,

which is an A.

In this final example,

I'm using the C major b5 triad

on an A minor six.

Because when we can use it as a voicing,

we can, of course, also use it

as an arpeggio when we're soloing.

So, the cadence is really fairly basic,

so it's B half diminished,

E7 to Am6.

And I start with

an Fmaj7 arpeggio

on the B half diminished,

And then down a sort of a scale run

from A minor pentatonic.

And on the E7,

I go to the five.

And then from the D up to the F,

skipping down to get a G#,

and then back up to F,

down to D,

and then I'm resolving to the C on the

... on the A minor six.

And from here,

I'm playing the major b5 triad,

and then resolving that to the nine,

on the A minor six.

With A minor sixths, the scale you use is probably gonna be

A melodic minor.

And the same is with the C7, also.

We actually have three different

major b5 triads

that we can use in a melodic minor scale.

So, in the case of A melodic minor,

we have the one that we use, which is on the C.

But there's another one on D.

And then there's also one on G#.

Since, you're probably familiar

with how this sounds as a chord versing,

you're probably gonna have an easy time

trying to add it into your playing,

and you can check out some inversions,

to maybe get a few more options,

and that can be very useful,

and also quite easy to implement.

And I think you should try and do the same

with the arpeggios,

because it is, again, a distinct sound,

but you can really use it in a lot of different places,

and any triad, really.

And it's always nice to have these kind of strong melodies

that triads really are.

If you think about where you find them,

so I already talked about the fact that you have them

three places in the melodic minor,

and four places in the diminished scale.

But you might also want to check out,

there's only one place in the major scale,

any scale that you use,

start to look into

where can I actually find this sound?

And where can I try and use it?

And it might be in some surprising places also,

because one of the ones in melodic minor,

on the seventh degree,

is kind of obvious for us, of course,

but in a lot of other contexts might be really useful

for some new colors.

If you want to learn more about jazz guitars,

about superimposing pentatonic scales,

and interesting arpeggios, and other scale choices,

then subscribe to my channel.

I publish a new lesson every week,

and I've been doing it for quite some time.

So, there's already really a lot of material on my channel.

One of the things that makes it possible

for me to continue

making all of these videos

is that I have a small community

of people on Patreon

that support me.

And if you want to help me

keep making all the videos,

then check out my Patreon page,

and join that community.

And of course, if you support me on Patreon,

I can give you something in return for your support.

That's about it for this week.

Thank you for watching, and until next week...

For more infomation >> The Triad we never talk about - but we play it all the time! - Duration: 11:02.

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Final DAW review summary - Best DAW 2017 - Music Software #15 - Duration: 10:12.

Welcome to your musical software lessons

My name is Eilish San and today we're going to finish

the DAW comparisons by making a final summary

of every single DAW we have seen so far

First let's start with the area that, for me,

is the most important when it comes to working with audio,

and it is the quality of exported audio

We do not want a DAW that, after working

hard with it, lowers the quality of our work,

when we can have another one that gives us

a superior quality

First I want to highlight two specific comparisons,

Podium in my case made the exported sound

several tones lower than the original,

so I strike it directly off from my list,

but you can test it does the same or works

correctly with your equipment if you want

Then we have the case of Bitwig,

I could not make a comparison with Bitwig 2,

but Bitwig 1.3 certainly exported the sound

with a rather poor quality

If I can do a comparison with Bitwig 2

soon I will upload a video to update this,

for now we will mark it as bad assuming that

the audio engine is the same in both versions

In the other comparatives we found the worst

audio quality in Cakewalk Sonar Platinum,

Ableton Live 9, Acid Pro 7 and Pro Tools First 12,

while Cubase Elements 9 and Tracktion Waveform

had a superior audio quality than the rest

Let's go to the second most important point to me,

MIDI

If you do not use MIDI in your work maybe this point

will not interest you, but really nowadays

more and more virtual instruments are used

and less real instruments are recorded live,

in any musical style

Also, if you work alone at home and want to release

your compositions created in your own home studio,

chances are you do not know how to play or don't have

all the instruments you want to use in

your compositions, which is why it's always useful

to have the best tools possible

to work with MIDI

As I have said more than once, a fundamental point

in my opinion is to be able to write the MIDI in score,

since that way you are getting used to it and learning to read

and write in score if you do not already know, which will serve you

in the future if you need to play the music from another

person written in score, which is the most normal

In addition, writing in score is much easier

than in piano roll once it's mastered, since you don't have

to go up and down on the piano to write

octave intervals and compare the grids with the piano

on the left to know what note you are writting,

in a score you have

all the notes at a glance

The DAW with score editor are Cakewalk Sonar,

Digital Performer, Samplitud, Mixcraft, Cubase and Reaper

I have to say that, with the exception of Cakewalk Sonar and Cubase,

the rest of the score editors

are a bit tedious to use

Also, except for these two and Reaper,

the rest are limited in the number of clefs

that you can use, in Samplitud you can not use

the neutral cleff to write percussion instruments

and in Digital Performer and Mixcraft you can only use

the G, F and double score - G and F - clefs

Of course, you can always use external software

to compose in score

and then export the MIDI to your DAW

In that case, the DAW without score editor

with the best MIDI functions are FL Studio, Reason

and Waveform, to emphasize in all three the possibility

of applying a specific groove to humanize MIDI

in case you want it to sound

closer to real live music

Then there is the use of external plugins

Both in audio and MIDI you need to have

the best possible plugins to handle the audio waves

or to have the best possible virtual instrument

and the best effects

Currently the most standard and compatible

with almost any DAW,

at least in Windows which is what we are seeing,

is to use plugins in VST format

In addition, there are many free VST plugins,

many of them of very good quality,

that you can find on the Internet

Of all DAWs there is only one that does not support VST,

Pro Tools, so if you do not need to use Pro Tools

due to some obligation, because you work for a

recording studio that uses it, because you already bought it

or for whatever reason, I advise you not to use

Pro Tools as your DAW in your home studio

If you want to use it or you have no choice,

as I already told you in its video there is a way

to use VST with Pro Tools through ReWire

and the application Plogue Bidule

Of the rest, Ableton Live, Acid Pro and Samplitude

only allow a plugins folder to scan,

so if you are going to use any of these DAW

remember to make shortcuts from that folder

to the other folders where the plugins you use

are installed so that it founds them

In addition Acid Pro is only compatible

with 32-bit plugins, and nowadays

it is increasingly common to create 64-bit VST

On the contrary, Cubase no longer supports 32-bit plugins,

so if you have plugins you want to use

and do not have a 64-bit version, watch out for this,

or look for a 64-bit alternative

which you will need sooner or later

It is also necessary to mention the additional capacity

to trigger different loops for each track live,

what is called Session mode

We only have this option in Ableton Live,

Mixcraft and Bitwig

Finally there are two additional notes to add,

the first is for Reason, where we can not

create punch in and punch out areas,

and another for Bitwig, where we can not insert

time signature changes, to sum it up, both lack

an essential functionality for a DAW

If we remove every DAW with negative points,

we are left with 6 out of the 14 compared

Now that we have a selection of the best,

let's talk about prices

Digital Performer is priced at $ 499

FL Studio comes in three different prices,

€ 189, € 289 and € 786.24, depending on the number

of additional plugins you want to buy

There is a fourth price of € 89, but it is a version

that does not allow audio recording, so I will not

take it into account, since these videos are

mainly focused on singers who want to create

a home studio at home, so the main thing

will be recording their voices in audio

Of course, if you are not going to work recording audio,

it might interest you

Mixcraft comes in two different prices,

$ 89 and $ 179, again depending

on the number of additional plugins

Cubase comes with three different prices,

€ 99.99, € 329 and € 579, but in this case

it does not depend only on the number of plugins

you want to buy, but the number

of functionalities is different in all three versions,

ie, in the € 100 version you do not have

a complete Cubase, although possibly

enough for a home studio

Reaper comes in two different prices,

$ 60 and $ 225, this time the only difference being

if you are going to make a commercial use of the software,

like using it in a recording studio, or not

And finally Waveform comes with three different prices,

$ 99, $ 150 and $ 200, again depending

on the number of additional plugins you want to buy

Clearly, I'll discard Digital Performer,

since for a little more you can buy the full version

of Cubase, Cubase Pro, much better

in all points compared

Among all others, what to use?

If you want to use Session mode,

the option we have left is Mixcraft,

that if you do not want additional plugins,

for example because you already have yours

and do not need extra plugins,

it has an affordable price of $ 89, about 75 €

That you do not want Session mode because

you're not going to use it for anything?

Then we have two options,

get the cheapest within the good,

or the best quality possible

The cheapest DAW is Reaper,

being only $ 60 for personal use, about € 50,

which is basically what you will do

in a home studio

The highest quality position is between Cubase

and Waveform, let's pause a bit at this point

The minimum price for each is similar,

€ 99.99 from Cubase versus $ 99 from Waveform,

about € 83 with the current currency exchange

On the other hand, Waveform gives us the complete DAW

for that price, the other two options being

packages with additional plugins

Cubase instead gives us a reduced version,

having to buy the other editions

to have all the software functionalities,

as a greater number of inputs and outputs,

number of audio tracks, MIDI and instrument, etc.,

and of course additional plugins

It is true that Cubase comes with score editor,

and possibly also the best score editor

in a DAW currently alongside Cakewalk Sonar,

so in this point Cubase has a great addition

It is also true that you need the Pro version, of € 579,

to have the complete professional score editor,

although with the basic it may be enough

if you just want to use it to write MIDI notes

to convert them to audio

But on the other hand, the audio quality of Waveform

is slightly higher than that of Cubase,

and for a slightly lower price gives us

the complete DAW, with no limit of inputs,

outpus, tracks or VST in use

In addition, although Waveform has no score editor,

it has many other very powerful MIDI tools

Also remember that Cubase is no longer compatible

with 32-bit plugins, in case your VSTs

do not have a 64-bit version

One last note, Cubase is available

for Windows and Mac, while Waveform

for Windows, Mac, Linux and Raspberry Pi,

so if you are like me changing between

Windows and Linux, you will have fewer problems

to use the same software

on both platforms

If you do not want to compose using the score editor,

it is clear that the option is Tracktion Waveform

If you want to compose with score editor,

which is my sincerest advice, I would say go

to the comparative page of Cubase versions

and see if the limits of the Elements version

meets your needs

If that version isn't enough for you,

before paying € 329 or € 579

for the better versions, I would buy Waveform

and use an external MIDI editor to compose the MIDI

separately and then import it into Waveform

If you want to use a score editor

and you need really advanced tools

to create the scores, most likely the integrated

score editor from any DAW won't be enough for you

and you'll need a dedicated score editing

software anyway

Personally, both to prevent the limitations

of the Elements version of Cubase from limiting

my work in the future, and to have the best quality

possible, I will stay with Tracktion Waveform

as the best DAW to use, and I will use

an external MIDI editor for my compositions,

as I'll show you in an upcoming video

With this I finish the comparatives,

at least for now,

if I have missed some DAW that you want me to compare

or you have any doubt or thing that you want to share

remember to leave it in the comments

I hope that you like this video, that you find it useful

and I'll see you in the next video

For more infomation >> Final DAW review summary - Best DAW 2017 - Music Software #15 - Duration: 10:12.

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#Raks #Sharki Belly Dance ☀ Anastasia Kostritsa ☀ FINAL Solo Juniors ☀ Ukraine Competitions - Duration: 1:58.

Number 273 is invited to the stage , number 274 is preparing.

Applause.

Meet number 274 at the scene, 276th number is preparing.

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Hands on with the Sony Xperia XZ1 and Sony Xperia XZ1 Compact. Two phones announced during IFA 2017. Watch for a mini hands on review and first impressions. Product Link : http://amzn.to/2wM0rGD Help support the channel by using my Amazon Affiliate Link: Amazon us : http://amzn.to/2uXheF4 Don't froget to subscribe our channel: https://goo.gl/dd3tR2 Follow me on Social Media: Website: http://usonlineshop24.blogspot.com/ Facebook Page : https://goo.gl/RPQ3Uo google : https://goo.gl/1ui9JG facebook : https://goo.gl/RPQ3Uo twitter : https://goo.gl/oTnMn2 linkedin: https://goo.gl/BtB7MY pinterest : https://goo.gl/FzbEHY Sony Xperia XZ1 & XZ1 Compact Hands On & First Impressions! video Link : https://youtu.be/JScnZyGi9Ps

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Top 10 Most Popular British Celebrities-Most Popular Hottest British Celebrities 2017

YT for next

Thứ Năm, 31 tháng 8, 2017

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