By M. C. Richards
Each one publication during this sequence comprises common background, standards, technical information, pictures color profiles of the featured plane.
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Extra resources for Aichi D3A (Val) Yokosuka D4Y (Judy) Carrier Bombers of the IJNAF
If you drag tracks into a different order, you’re also changing their priority! Multiple tracks can be assigned to the same voice; as long as their regions don’t overlap at any point in time, each can play back all required audio. 5, this effectively gives you much more polyphony out of whatever fixed number of voices your Pro Tools system provides. Each track maintains its own completely independent routing, effects, automation, and so on, which is unaffected by that of any other tracks assigned to the same voice.
And lastly, you somehow store these voltage variations produced by the transducer over time so that you can reproduce them afterward. On traditional (analog) tape recorders, an electromagnet realigns magnetic particles (or domains) on the surface of a moving tape, varying the intensity of its magnetic field in response to variations in the incoming voltage. This is a fairly continuous process—at least as far as the density of the magnetic coating and the speed of the tape permit. When the magnetically stored level variations on the tape are converted back into voltages through an amplifier and speakers, the result is fairly comparable, or analogous, to the original signal.
Earlier Macintosh versions of Pro Tools recorded audio to disk exclusively in Sound Designer II format. Sound Designer was Digidesign’s groundbreaking Macintosh audio-editing program, introduced in the 1980s. From its beginnings as a simple mono editing program for samplers (transmitting sample data—slowly—via MIDI), it evolved into a robust stereo hard-disk recording and editing environment based on Digidesign’s Sound Tools II hardware, the precursor to Pro Tools that quickly became the industry standard for editing and mastering stereo audio.