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Pagina 1 van 1 04:04:17 Onderwerp: Convert OBS FLV Video to YouTube/Vimeo Mac Andyeric Geregistreerd op: 26 Mei 2015 Berichten: 44 Upload OBS FLV Video to YouTube/Vimeo for Sharing on Windows/Mac Overview: Some users complain that 'My attempts at uploading OBS FLV video to YouTube/Vimeo fail during processing.' It's obvious that import OBS FLV video to YouTube/Vimeo may cause some issues. Source: Open Broadcaster Software is free and open source software for video recording and live streaming. Have you ever recorded some game footage with OBS? Generally OBS saves files as MP4 or FLV. It says that the files can be uploaded straight to YouTube or other video hosting site just fine.
But why I encounter incompatible issues when importing OBS FLV video to YouTube/Vimeo or other situations like,? FLV usually comes from a video-sharing website like YouTube, Vimeo or from OBS (Open Broadcaster Software), etc. Though FLV is the same format with YouTube supported one, the codec of OBS FLV videos is totally different from.
Since YouTube is the most popular website where we can upload our favorite videos to it for sharing online with other people, any good solutions to transcode OBS FLV video to YouTube/Vimeo directly? To upload OBS FLV video to YouTube/Vimeo flawlessly, you'll need to convert OBS FLV to YouTube/Vimeo both compatible format. In this case, Pavtube is the first and best choice for you. With the recent, it can encode/decode H.265/HEVC videos so nicely. If you are running on Windows, you can refer to the equivalent version Pavtube.
Other Download:. Amazon Store Download:. Cnet Download:.
Softonic Download: How to upload OBS FLV video to YouTube/Vimeo for sharing on Windows/Mac? (Take Mac version as an example.) Step 1. When you download and install the Mac Video Converter, open the main interface and choose the 'Add video' to load your OBS FLV videos in. For the multiple video clips we can hit the 'Add from folder' button. Before choosing the format, you can check about the supported formats of YouTube and Vimeo first then decide which output format to choose.
Mbox 2 Pro Driver 9.0 (Mac) [33.32 MB]. Mbox 2 Pro Driver 1.6 (Windows) [30.93 MB]. Oct 21, 2014 - Mbox 2 Pro is a Firewire audio interface that features 6 inputs and 8. Mac OS 10.9, 10.9.2 and 10.9.3 supported with Pro Tools 11.0.3. Jun 15, 2017 - While Avid is no longer releasing drivers that will allow the Mbox 2 series of devices to work with Pro Tools 12.0 and above, drivers that are. The M Box 2 Pro can be powered via the Firewire interface if you use a. Also a lot that hasn't changed with the M Box 2 Pro, such as the Pro Tools software, so I. Apr 30, 2017 - Help finding Mbox 2 Pro Drivers 003, Mbox 2, Digi 002, original Mbox, Digi 001 (Mac). Running Pro Tools LE 8.0.5 on a Mac running 10.6.8. The Mbox 2 Pro is firewire, the normal Mbox 2 and the Mini are USB. If it is the. Avid mbox 2 pro drivers.
As we can see from those two sites, both the H.264 codec contained with MP4 can be supported by them both. So we go to the 'Format' bar then choose 'HD VideoH.264 HD Video (.mp4)' as the output format. Most of you guys must have the desire of a further editing with your output videos, right?
On the main interface, 'Edit' is waiting for you. 'Trim' to decide where to start and where to end, 'Crop' to cut some unwanted clips, 'Subtitles' to add some explanations to your audience.
Click the 'Convert' button under the preview window and the Mac Video Converter starts converting. By the way, you can take a screenshot at your favorite frame. Conclusion: After converting, you can click the 'Open' button to find your converted files.
Now, you can upload OBS FLV video to YouTube/Vimeo for sharing on Windows/Mac without any worries! What are you waiting for? Just go ahead and have a try! More Tips: Good News! Pavtube Bundles Dealsare coming!
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Even though the concept and imagery of frigid weather has been done time and time again within drone and ambient music, Kevin Spence's take on it is able to transcended the expectations I had and present a haunting, glacial suite of songs that radiate a frozen stillness. Recorded during the winter months between 2005 and 2009, the coldness of the surroundings clearly seeped into the tapes, such as on the expansive ambience and thick, icy synth pulses that make up the title track.
During its eight minutes, the piece varies and evolves, but it definitely isn’t via quick edits or jumpy composition. The snow metaphors are especially apt on 'A Blizzard,' which begins as shimmering waves of sound that slowly become heavier and more demanding, much like a snowstorm would produce.
'Cold Winds' is enshrouded by a layer of crackling snowflakes, as delicate, crystalline melodies intertwine in the distance. Again, a sense of cold stillness, but not fully frozen, with some good melodic evolution and development forming the focus of the track. After the aptly titled 'Melt,' with its echoing percussive hints and slowly running water sounds, the overarching mood and feeling of the album changes to something a little less consistent, but still fitting. 'Drifting-Decent' feels warmer, with lighter sounds and distant echoes pushing the piece in a different direction. 'Losing Sleep' also goes in its own direction, pulling in a bassier sound and field recording loops, giving a quiet, but disorienting intensity. The two closing pieces, 'Space Station J' and 'Cygnus,' as expected, take a more astronomical/science fiction vibe in comparison to the rest of the album. Both have a more distant quality, feeling less organic and disconnected in comparison.
Each have an odd intrusion: a tiny bit of guitar on the former and sampled voices on the latter. The guitar works, but the voices were more distracting overall (and the same with their use on the title track). Living up to the album title and imagery, this debut physical release is an expansive world of icy beauty. While not a perfect record, as a compilation of material recorded over a five-year span, it feels rather cohesive.
The thick, chilling tones make for a great accompaniment to the winter season Sixteen Review. Describing the CD Snowbound (53'43') with terms such as 'tinkling chimes' and 'silver bells' or 'white noise wind' would be an injustice to this work. The artistry of Stormloop, the musical persona of ambient philosopher Kev Spence, possesses an intelligence extending beyond the cold logic of these obvious phrases.
With an emphasis on mood and aesthetics Spence avoids melody and rhythm (and any sense of a narrative) for harmony and texture - in an effort to deliberately disorient the listener. He cannot describe this magical frozen region in words, so he uses music. Spare in style, Snowbound spins into one lengthy, captivating hallucination - all things arctic as envisioned by the powers of the mind.
The ten vivid tracks combine acoustic approximations of melting ice, crackling campfire flames, cold blasts of air and intercepted radio transmissions with howling electronic whirlwinds, an ethereal choir and minimal synthesized utterances. Beset upon the listener in a most imaginative manner the atmosphere moves between the intensity of a charged vortex to intimate discoveries somewhere among the closing track's plucked guitar notes and poignant spoken words. Those prepared to give Snowbound a close listen will be rewarded with a moody, layered and involving work of distinctive ambient music. Throughout this release Spence as Stormloop is thinking great thoughts while cherishing small treasures - in this world of sound minute details matter. Chuck van Zyl/STAR'S END 22 December 2011 Seventeen Review. Stormloop's Snowbound.
would appear to be the quintessential Glacial Movements release in a number of respects. At a surface level, track titles such as “Cold Winds” and “A Blizzard” obviously perpetuate the frozen persona associated with the label, while “A Calm Reflection” and “Space Station J” namecheck the respective introspective and sci-fi dimensions of the recording and label, too. More significantly, the music itself, in this case by Leeds, England-based Kevin Spence, is also consistent with the cold-as-ice style presented on previous Glacial Movements releases.
Even that's a rather oversimplified assessment, however, as the recording also features ample servings of warmth and humanity. Though Spence has been creating electronic and ambient recordings since 1999, Snowbound. is, in fact, his first recording on a record label. Spence recorded the material in December 2009 during a time when snow had fallen for over two weeks, and the composer found himself creating the material while watching heavy snowfall accumulate and imagining himself lost in a remote cabin and hoping to survive the winter. “Snowbound” does, in fact, make the listener feel as if he/she has taken temporary refuge within a remote research facility in the hope of surviving the deep freeze outside the building's walls. Dangerously cold though they may be, “Cold Winds” nevertheless sparkle prettily in a way that masks their potentially lethal impact were one to foolishly expose oneself to them for any length of time.
Amidst crystalline tinklings, said winds emit unearthly whistling sounds throughout “A Calm Reflection,” while ethereal choirs do much the same during “Dense Fog.” In a track such as “Drifting-Decent,” a rather New Age-like ambient quality emerges that's reminiscent stylistically of someone like Steve Roach, with the soothing character of Spence's material reinforced by its synthetic smoothness. The sci-fi aspect of the recording comes forth most prominently during “Space Station J” when lines of film dialogue appear alongside Spence's long, brooding tones. It's this arresting track in particular that elevates the album above the genre norm when the voice samples, brief as they are, bring an air of wonderment to the instrumental setting. It all adds up to fifty-four minutes of ambient-synthetic scene-painting of the kind that, in this case, evokes the image of a lone researcher marooned at the coldest place on the planet and desperately hoping to survive winter's seemingly never-ending onslaught. Eighteen Review. Het Italiaanse Glacial Movements heeft zich gespecialiseerd in diepvriesambient dat zich laat horen als een poolwind die over de toendra raast.
De bevroren wereld is een dankbaar onderwerp voor de thematische seizoenshoek van de arctische ambient, waar een desolate en mensonvriendelijke omgeving in soundscapes en drones weerklinken. Nu de taak aan Stormloop, een zekere Kev Spence uit Leeds, om de zoveelste poolexpeditie van Glacial Movements tot een bevredigend einde te brengen. De expeditie op 'Snowbound' is echter geen bittere strijd tegen de elementen, maar een van comfort en berusting, want voordat de permafrost de huid zwart blakert, heeft Stormloop zich al lang en breed verschanst in een warme blokhut, om met een bak thee te genieten van het uitzicht op dwarrelende sneeuw en eindeloze ijsvlaktes. We luisteren dus naar een arctisch geluid van voornamelijk rust en verwondering, bij vlagen warm te noemen, als een waterig zonnetje dat de zee van ijs van kleur voorziet. Heel soms treedt de duisternis in, maar zelfs dan overheerst de melancholie in de uitgesponnen tonen, die vooral zweven zonder te schuren.
Wij houden liever van het geluid van afbrokkelende gletsjers, bevroren ledematen en huilende sneeuwwolven terwijl de weg naar de beschaving is vergeten en er wordt geploeterd zonder jas en wat vodden aan de voeten. Die plaat hebben we echter nog niet gevonden, niet op Glacial Movements in elk geval. Twenty-three Review. I finally discovered the label with a beautiful album by bvdub, (2010), and then kept my ears open for Netherworld‘s follow up, Over The Summit (2011), Loscil‘s (2011), and of course bvdub‘s return for the interpretations on Tedeschi’s above mentioned first release -. It’s no wonder that the label quickly climbed to the top of my favorites, as I tracked down and purchased the back catalog. Here’s an introductory paragraph from the label’s page: Places that man has forgotten icy landscapes fields of flowers covered eternally with ice Icebergs colliding among themselves The boreal dawn that shines upon silent white valleys in the Great Northern lands an explorer lost among the Antarctic glaciers looking for the way home The cold and silent night that falls upon the glacial valleys creatures that look for shelter from the Great Northern cold Glacial Movements is a label born to describe and spread these thoughts/images through sound. Yes, fans of Biosphere, William Basinski, Deathprod, and the minimalism of Taylor Deupree, Robert Henke, Richard Chartier and Yann Novak will appreciate any and all of the above mentioned albums.
Not to mention the most amazing upcoming release schedule from Pjusk, Marsen Jules, Phobos, Aidan Baker & Troum, and Celer!!! Did that get you excited? OK, now back to Snowbound! Stormloop is the brainchild of Leeds based (England) Kev Spence, who has been producing and self-releasing ambient albums since 1999. There are about a dozen albums available via his page, if you get hungry for more. Snowbound. (written with an asterisk), is Spence’s very first release for a record label, and it is a perfect fit for Glacial Movements! Collecting the material recorded during a two-week snow fall in December of 2009, the album tells the story of solitude and detachment through slow evolving sound and straightforward titles such as “Cold Winds”, “Dense Fog”, “Melt” and “A Blizzard”.
Soft layers of synth pads and bass drift through the landscape like a heavy cloud. It is impossible to avoid references to early mist, murky fog and smoky vapor when describing a hazy atmosphere painted by Spence. But unlike the organic ambiance of guitars and strings by some of the above mentioned artists, the music of Stormloop is a little synthetic, spacey and futuristic. As if Snowbound. is a soundtrack for an alien planet, covered in gaseous atmosphere and frozen rock. Wind picks up, but it lacks the oxygen. Instead it is thick with heavier elements that cover the caverns hungry for sun.
Just writing these words with the music in the background sent chills down my spine Composing usually late into the night, watching the heavy snowfalls was the inspiration for these tracks, and the feeling of been lost in some remote cabin, safe but warm, with good food and drink, staring out at the depths of winter snow that covers the land These crystalline soundscapes, take us from the cold winter nights, then out towards the bleakness of space. Snowbound. is an authentic full-immersion into the cold, and you can really feel the snowflakes on your skin.
Spence has also released a complimentary album, Snowbound. The Tracks Left In The Snow, as a ten track digital-only download via his, recorded during the same sessions as Snowbound. Photography by Bjarne Riesto is once again featured on this Glacial Movements release, adding to the overall aesthetic of the label that I’m falling in love with Now I need to go and boil some water for my green tea Twenty-four Review. Snowbound. compiles tracks recorded in an eponymously snow-engripped December by Leeds lad Kev Spence, synth-twiddler by appointment since 1999 under the unfortunate sub-Tolkien moniker, Stormloop. Composed while watching late into the night, attended by the feeling of being lost, but safe and warm, in some remote cabin, its trajectory goes from the cold winter nights in a full-immersion ice bath out towards the magnificent void in bleak but warm droning ambient electronica—minimal motion, from deep, sonorous and bass-heavy expanses to more delicate vistas, formed of synths and processed guitar to create a landscape of vast droney fields, airy field recordings and soft environmentalia.
A first full label release for Spence on Glacial Movements, it represents a resumption of something approaching normal service for the minimal glacial inclination of the label aesthetic—closer to the soft isolationism of Loscil and Netherworld, two recent entries in the Glacial Movements catalogue, and gratifying removed from the blowsy ambient blub of bvdub, whose I Remember and earlier The Art of Dying Alone) made for, to these ears, an incongruent deviation from the GM mission. There are no great shifts to the glacial isolationist ambient paradigm here, but a consummate execution of a programmatic template. A little more than this, in fact, since Spence manages, with the quiet storm of his loop, to imbue Snowbound. with a metaphysical sense of something beyond within the chronostasis of his scenes, the variations on the snow theme summing to a significantly involving whole. Those left wanting more will be pleased to know that they may indulge themselves further, with a set of leftovers from the same recording sessions to Snowbound. made freely available via Bandcamp. It’s getting warmer outside.
The green forces out the grey and the white as the dominant colour of the landscape. Yet Glacial Movements label doesn’t let us forget about it and still injects another doses of arctic coldness in our veins. As a matter of fact “Snowbound.” was released in November 2011, but I decided to pay some more attention to it just now. And it absolutely wasn’t a bad idea. As always when it comes to getting know to another GM release.
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Basically Alessandro Tedeschi’s label began exploring icy landscapes with rather dark and isolationist ambient (Lull, Skare, most of the tracks on “Cryosphere” compilation) but with time it started to open to less literal atmospheres, approaching to the cold matter in less obvious ways. It was a great decision, because the albums of Bvdub or Loscil are one of the most beautiful pieces of music I’ve listened to in the last few years. STORMLOOP somehow combines different influences creating perhaps the most diverse album to date in GM catalogue. STORMLOOP is Kevin Spence, Leeds-based musician. So far he distributed albums only in digital form. Apart from “Waveforms” which was also released on CDr, “Snowbound.” is his first “physical” release.
It came into being during two winters of 2005 and 2009. The album is built on static soundscapes which create peaceful and calming sound trance, but with occasional darker sounds which are let between blissful atmospheres.
Spence do not focus only on sound itself. He tries to enrich the music by using sampled voices lost in the icy space or – like in “Melt” – transforming beautiful female choir in the way that it’s almost impossible to say whether it’s still human voice or rather arctic wind whistling through crevasses. In the first track, “Snowbound”, cold pulse interacts with paradoxically warm and beautiful sonic space. I like the sound of synths in”Losing Sleep” – a bit retro, reminding certain masters of electronic music from 70′s or 80′s. Last two songs, “Space Station J” and “Cygnus” take us from the frozen desert to the stars But my favourite track on “Snowbound.” is “Drifting Descent” – beautiful, very subtle, actually without any musical ornaments, based only on harmonic sound. What else can I say. Glacial Movements is still in top form.
If there would be another ice age one day, I want to freeze listening to these sounds. Thirty-two Review ROCK A ROLLA nr. 35 Thirty-three Review RITUAL MAGAZINE.