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Digital audio workstation

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Music production using a digital audio workstation (DAW) withmulti-monitorset-up

Adigital audio workstation(DAW/dɔː/) is an electronic device orapplication softwareused forrecording,editing and producingaudio files.DAWs come in a wide variety of configurations from a single software program on alaptop,to an integrated stand-alone unit, all the way to a highly complex configuration of numerous components controlled by a central computer. Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece.[1]

DAWs are used for producing and recordingmusic,songs,speech,radio,television,soundtracks,podcasts,sound effectsand nearly every other kind of complex recorded audio.

Hardware[edit]

Early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time.

In 1978,Soundstream,who had made one of the first commercially available digital audio tape recorders in 1977, built what could be considered the first digital audio workstation using some of the most current computer hardware of the time.[1]TheDigital Editing System,as Soundstream called it, consisted of aDEC PDP-11/60minicomputer running a custom software package called DAP (Digital Audio Processor), a Braegen 14 "-platter hard disk drive, astorage oscilloscopeto display audio waveforms for editing, and avideo display terminalfor controlling the system. Interface cards that plugged into the PDP-11'sUnibusslots (the Digital Audio Interface, or DAI) provided analog and digital audio input and output for interfacing to Soundstream's digital recorders and conventional analog tape recorders. The DAP software could perform edits to the audio recorded on the system's hard disks and produce simple effects such as crossfades.

By the late 1980s, a number of personal computers such as theYamaha CX5M,Macintosh,Atari ST,andAmigabegan to have enough power to handle digital audio editing. Engineers usedMacromedia's Soundedit, with Microdeal'sReplay ProfessionalandDigidesign'sSound ToolsandSound Designerto edit audio samples for sampling keyboards like theE-mu Emulator IIand theAkai S900.Soon, people began to use them for simple two-track audio editing andaudio mastering.

In 1989,Sonic Solutionsreleased the first professional (48 kHz at 24 bit) disk-basednon-linear audio editingsystem. TheMacintosh IIfx-based Sonic System, based on research done earlier at George Lucas'Sprocket Systems,featured completeCD premastering,with integrated control of Sony's industry-standardU-matictape-based digital audio editor.

Many majorrecording studiosfinallywent digitalafter Digidesign introduced itsPro Toolssoftware in 1991, modeled after the traditional method and signal flow in most analog recording devices. At this time, most DAWs were Apple Mac based (e.g., Pro Tools, Studer Dyaxis,Sonic Solutions).[2][3]Around 1992, the first Windows-based DAWs started to emerge from companies such as Innovative Quality Software (IQS) (nowSAWStudio),Soundscape Digital Technology,SADiE,Echo Digital Audio,and Spectral Synthesis. All the systems at this point used dedicated hardware for their audio processing.[4]

In 1992, Sunrize Industries released the AD516 soundcard for big-boxAmigacomputers.[5]This allowed up to 8 tracks of 16-bit 48 kHz direct-to-disk recording and playback using its Studio 16 software. It could also integrate directly intoBlue Ribbon Soundworks' Bars & Pipes Pro MIDI software orNewTek'sVideo Toaster,thus providing a complete package of MIDI sequencing and/or video synchronization with non-linear hard disk recording.

In 1993, the German companySteinbergreleasedCubase AudioonAtari Falcon 030.This version broughtDSPbuilt-in effects with 8-track audio recording and playback using only native hardware. The first Windows-based software-only product, introduced in 1993, wasSamplitude(which already existed in 1992 as an audio editor for the Commodore Amiga).

In 1994, a company in California named OSC produced a 4-track editing-recorder application called DECK that ran on Digidesign's hardware system, which was used in the production ofThe Residents'Freakshow[LP].[citation needed]

Integration[edit]

Anintegrated DAWconsisted of: acontrol screen,48-trackdigital mixerintegrated onhard disk recorderincluding data storage and audio interface. (TASCAMX-48)
See also:Hard disk recorder

An integrated DAW consists of adigital signal processing,control surface,audio converters,anddata storagein one device. Integrated DAWs were popular before commonly available personal computers became powerful enough to run DAW software. As personal computer power and speed increased and price decreased, the popularity of costly integrated systems dropped.

Software[edit]

A screenshot of a typicalsoftware DAW(Ardour)

"DAW" can refer to the software itself, but traditionally, a computer-based DAW has four basic components: acomputer,asound cardor other audio interface,audio editing software,and at least one user input device for adding or modifying data. This could be as simple as a mouse and keyboard or as sophisticated as a piano-styleMIDI controller keyboardor automatedaudio control surfacefor mixing track volumes.[6]

The computer acts as a host for the sound card, while the software provides the interface and functionality for audio editing. The sound card typically converts analog audio signals into a digital form, and digital back to analog audio when playing it back; it may also assist in further processing of the audio. The software controls all related hardware components and provides auser interfaceto allow for recording, editing, and playback.

Computer-based DAWs have extensive recording, editing, and playback capabilities (and some also have video-related features). For example, they can provide a practically limitless number of tracks to record on,polyphony,and virtualsynthesizersor sample-based instruments to use for recording music. DAWs can also provide a wide variety ofeffects,such as reverb, to enhance or change the sounds themselves.

Simplesmartphone-based DAWs, called mobile audio workstation (MAWs), are used (for example) by journalists for recording and editing on location.

As software systems, DAWs are designed with manyuser interfaces,but generally, they are based on amultitrack tape recordermetaphor, making it easier forrecording engineersandmusiciansalready familiar with using tape recorders to become familiar with the new systems. Therefore, computer-based DAWs tend to have a standard layout that includes transport controls (play, rewind, record, etc.), track controls and a mixer. A waveform display is another common feature.

Single-track DAWs display only one (monoorstereoform) track at a time.[a]MultitrackDAWs support operations on multiple tracks at once. Like amixing console,each track typically has controls that allow the user to adjust thegain,equalizationandstereo panningof the sound on each track. In a traditional recording studio additionalrackmountprocessing gear is physically plugged into the audio signal path to add reverb, compression, etc. However, a DAW can also route in software or useaudio plug-ins(for example, aVSTplugin) to process the sound on a track.

Perhaps the most significant feature available from a DAW that is not available in analog recording is the ability to undo a previous action, using a command similar to that of the undo function inword processing software.Undo makes it much easier to avoid accidentally permanently erasing or recording over a previous recording. If a mistake or unwanted change is made, the undo command is used to conveniently revert the changed data to a previous state. Cut, Copy, Paste, and Undo are familiar and common computer commands and they are usually available in DAWs in some form. More common functions include the modifications of several factors concerning a sound. These include wave shape, pitch, tempo, and filtering.

Commonly DAWs feature some form ofmix automationusing procedural line segment-based or curve-based interactive graphs. The lines and curves of the automation graph are joined by or comprise adjustable points. By creating and adjusting multiple points along a waveform or control events, the user can specify parameters of the output over time (e.g., volume or pan). Automation data may also be directly derived from human gestures recorded by acontrol surfaceorMIDI controller.

MIDI recording, editing, and playback is increasingly incorporated into modern DAWs of all types, as issynchronizationwith other audio or video tools.

Qtractorscreenshot

There are manyfree and open-source softwareprograms that perform DAW functions. These are designed to run on a variety ofoperating systemsand are usually developed non-commercially.

Personal Composercreated by Jim Miller for Yamaha was the star of theNAMM Showin 1983.[7][8]Personal Composerruns under MS DOS 2.0 and includes a MIDI sequencer, synth editor (such as Yamaha's DX7), universal librarians and a score editor. The software was later released asPersonal Composer System/2(1988).[9]

In 1996, Steinberg introduced a revamped Cubase (which was originally launched in 1989 as a MIDI sequencing software for the Atari ST computer, later developed for Mac and Windows PC platforms, but had no audio capabilities until 1993's Cubase Audio) which could record and play back up to 32 tracks of digital audio on an Apple Macintosh without the need of any external DSP hardware.Cubasenot only modeled a tape-like interface for recording and editing, but, in addition, usingVSTalso developed by Steinberg, modeled the entire mixing desk and effects rack common in analog studios. This revolutionized the DAW world, both in features and price tag, and was quickly imitated by most other contemporary DAW systems.

Digital audio applications forLinuxandBSDfostered technologies such asAdvanced Linux Sound Architecture(ALSA), which drives audio hardware, andJACK Audio Connection Kit.JACK allows any JACK-aware audio software to connect to any other audio software running on the system, such as connecting an ALSA- orOSS-driven soundcard to a mixing and editing front-end, likeArdourorRosegarden.In this way, JACK acts as a virtual audiopatch bay,and it can be configured to use a computer's resources inreal time,withdedicated memory,and with various options that minimize the DAW'slatency.This kind of abstraction and configuration allowsDJsto use multiple programs for editing and synthesizing audio streams, ormultitaskingandduplexing,without the need for analog conversion, orasynchronoussaving and reloading files, and ensures a high level ofaudio fidelity.

Other open-source programs includevirtual synthesizersandMIDI controllers,such as those provided byFluidSynthandTiMidity.Both can loadSoundFontsto expand the voices and instruments available for synthesis and expand the ports and channels available to synthesizers.

Members of the Linux Audio Development (LAD) mailing list have contributed to development ofstandardssuch as theLADSPA,DSSIandLV2plugin architectures. TheVirtual Studio Technology(VST) plugin standard is supported by some programs.[11]

Sequencers offer a subset of DAW functionality. Several open-source sequencer projects exist, such as:

Plug-ins[edit]

Main article:Audio plug-in
See also:Software effect processorandSoftware synthesizer

There are countless softwarepluginsfor DAW software, each one coming with its own unique functionality, thus expanding the overall variety of sounds and manipulations that are possible. Each have their own form of generating or manipulating sound, tone, pitch, and speed of a simple sound and transform it into something different. To achieve an even more distinctive sound, multiple plugins can be used in layers, and further automated to manipulate the original sounds.

Generative Audio Workstations[edit]

Recent developments ingenerative artificial intelligenceare spurring innovation in DAW software. A research paper fromGeorgia Tech,titled Composing with Generative Systems in the Digital Audio Workstation, proposed the term Generative Audio Workstation to describe this emerging class of DAWs.[12]

Three examples of notable GAWs areAIVA,WavTool, and Symphony V. AIVA provides parameter-based AI MIDI song generation within a DAW. WavTool offers a browser DAW equipped with aGPT-4composition assistant and AI text-to-sample generator. Symphony V provides generative vocal synthesis, note editing, and mixing tools.[13]

Generative AI services have also become available through plugins that integrate with conventional DAWs, such asIzotope Neutron 4,TAIP, and Synthesizer V. Neutron 4 includes a "mix assistant" that uses machine learning to analyze audio and automatically apply processing effects. TAIP provides tape saturation powered by AI neural networks that imitate traditionalDSPprocessing. Synthesizer V offers several AI vocalists whose notes can be manipulated.[14]

To reduce the strain on computer memory, some plugin companies have developedthin clientVSTs that use resources from a cloud server. For example, the audio-to-midi plugin Samplab offers a desktop application with user authentication and API calls that perform stem separation and MIDI transcription off of the computer's local device.[13]This can improve load speeds or prevent applications from crashing.

Impact[edit]

DAWs can be implemented in a music education class to show kids how to use them and learn how to produce their own music. According to a study done by theIndonesia University of Education,the use of a DAW in music learning can let students build their learning of music production on their own.[15]Another study done by theUniversity of Milanmade a DAW accessible to kids.[16]

The usage of DAW can be found in mostHip HopandEDMmusic with the use of looping an instrumental. With music production also moving to a laptop can put the music making outside of a studio and into a bedroom.[17]

Notable examples[edit]

See also[edit]

Notes[edit]

  1. ^The termtrackis still used with DAWs, even though there is no physical track as there was in the era of tape-based recording.
  2. ^From version 2.2.0 onwards

References[edit]

  1. ^abKefauver, Alan P.; Patschke, David (2007-01-01).Fundamentals of Digital Audio, New Edition.A-R Editions, Inc. p. 133.ISBN9780895796110.
  2. ^Vila, Pablo (2014).Music and Youth Culture in Latin America.Oxford University Press. p. 226.
  3. ^Théberge, Paul (1 October 2004)."The Network Studio: Historical and Technological Paths to a New Ideal in Music Making".Social Studies of Science.34:759–779.doi:10.1177/0306312704047173.S2CID110021371– via Sage Journals.
  4. ^Heywood, Brian (1993)."SADiE (SOS Jun 1993)".Sound on Sound(Jun 1993): 132–138.
  5. ^"Sunrize Industries AD516 - Amiga Hardware Database".
  6. ^Bianchi, Daniele; Avanzini, Federico; Baratè, Adriano; Ludovico, Luca A.; Presti, Giorgio (2022)."A GPU-Oriented Application Programming Interface for Digital Audio Workstations".IEEE Transactions on Parallel and Distributed Systems.33(8): 1924–1938.doi:10.1109/TPDS.2021.3131659.ISSN1558-2183.S2CID244784611.
  7. ^FREFF (1984-04-03).MIDI interface.Ziff Davis, Inc.Yamaha personal-composer jim-miller
  8. ^Miller, Jim (1985)."Personal Composer".Computer Music Journal.9(4): 27–37.doi:10.2307/3679620.ISSN0148-9267.JSTOR3679620.
  9. ^Chapman, Jay (December 1988)."Personal Composer System/2 (SOS Dec 1988)".Sound on Sound(Dec 1988): 78–84.
  10. ^Tallchief, Dylan (2020-02-03)."I made an entire DAW in Excel"(video).YouTube.Retrieved2020-06-28.
  11. ^"Plug-Ins".Retrieved2021-04-20.
  12. ^Clester, Ian (2023-06-17)."Composing with Generative Systems in the Digital Audio Workstation"(PDF).CEUR Workshop Proceedings. p. 3.Retrieved2023-09-08.
  13. ^abSandzer-Bell, Ezra (2023-09-07)."Generative Audio Workstations: AI VSTs & The Future of DAWs"(Article).AudioCipher Technologies.Retrieved2023-09-08.
  14. ^"Top 14 AI Plugins and Tools for Music Producers in 2023 (for Mixing, Mastering, Composition, Sequencing & More)".Production Music Live.Retrieved2023-11-20.
  15. ^Cipta, Febbry (2021-02-04)."Digital Audio Workstation in Music Self-Learning"(PDF).Atlantis Press. p. 5.Retrieved2023-11-27.
  16. ^Baraté, Adriano; A. Ludovico, Luca; Presti, Giorgio (2022)."A Collaborative Digital Audio Workstation for Young Learners"(PDF).CSEDU. p. 7.Retrieved2023-11-27.
  17. ^Reuter, Anders (2021-10-07)."Who let the DAWs Out? The Digital in a New Generation of the Digital Audio Workstation".Taylor & Francis. p. 16.Retrieved2023-12-04.

External links[edit]

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