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Q&A: Hip hop beatmakers, which electronic rhythym machine or computer software do you recommend to make beats?

Tuesday, May 15th, 2012

Question by : Hip hop beatmakers, which electronic rhythym machine or computer software do you recommend to make beats?
I have an outdated Boss Dr5 rhythym machine from 1995!!! It’s great for what I do, but sometimes I wish i had more to work with.

Best answer:

Answer by Akin
honestly u can just get a mac and fl studio. or get mpc

but it depends on you, wat concept you have, wat instrument you want to star on the beat, wat mood.

if u can’t afford fl studio try this.

http://en.wikipedia.org/wiki/Digital_audio_workstation

Give your answer to this question below!

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What is the best music platform for creating electronic music for a MAC?

Tuesday, May 1st, 2012

Question by JaySimms: What is the best music platform for creating electronic music for a MAC?
I have been spinning house music for about 6 years now and want to start getting into producing and making my own remixes. Which software would you recommend for a MAC user and why? Reason? Cubase? Ableton?

Best answer:

Answer by goobergabe03
I would encourage that you use FL Studio, or at least try it
because you can download it for free, and it is pretty user-friendly,
it will take some time to mess around with it and get handle on it,
but you can make some pretty sick stuff from it

Know better? Leave your own answer in the comments!

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Church-Inspired Electronic Music, in Album and Interactive, Gothic App, from Eric Wahlforss [Listen]

Wednesday, April 18th, 2012

Delicate and dense, melodies and sounds from church contexts, found sounds of bells and voices, are set against crisp, sharply-solid, forward-driving electronic beats. And then, there are the visuals: an archaic architecture of mystical symbols and three-dimensional, evolving forms interpret the music in visual form.

Swedish-born artist and technologist Eric Wahlforss, in other words, has been busy. His album is an app, appropriately for someone who is the co-founder and CTO of SoundCloud. Eric showed me an early build over cheeseburgers. It’s reactive, perhaps, more than interactive, but there’s still a chance to use your hands to rotate both visuals and music, a bit like picking up a sculpture and viewing it from different angles – though with the added element of sound. What you get is a sense of an interwoven visual and musical world, and an aesthetic vision that Wahlforss has pulled together.

From the man who built the world’s largest online recording business, it’s little surprise that recording features prominently, in two threads:

Recordings of strings, choirs, organs and ambient noise from church concerts which have been cut up into fragments and rearranged into a new mosaic of music, and recordings of wooden, stone and metal objects which make up the beats and percussion. These are the plosive, rhythmical noises that provide the link between the traditional to modern electronica.

That musical combination sounds to me familiar, though also clearly comfortable to Mr. Wahlforss. The collaboration is especially intriguing, though, as a Viennese graphic designer and German computer graphics artist collaborate to produce an audiovisual experience. Berghain, that cavernous church of techno (and occasionally more experimental sounds), seems an appropriate setting in the city that also played home to SoundCloud’s founding. (The fact that the former power station has the acoustics of a church doesn’t hurt, either – even if it’s ill-suited to denser music for the same reason.) Ecclesia will get its launch across media: live show in Berlin, app on iPad, album. For now, you can hear the tracks streamed via – of course – SoundCloud, even shared directly from Ableton Live.

The live show premieres May 2 in Berlin at Berghain/Panorama Bar, with the app out the same day. The album itself releases on June 12.

http://forssmusic.com/


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TC Electronic Hall Of Fame reverb

Monday, April 9th, 2012

When TC Electronic launched the first of its TonePrint series of pedals last year, the company was getting back to basics and getting all ‘now’ at the same time.

The basics bit was these were compact, pedalboard-friendly, battery-powered stompboxes – a departure from the more complex Nova series. The ‘now’ bit was that the pedals could be constantly re-jigged by loading them with new sounds called TonePrints.

“Adding a reverb pedal to your set-up can open up a range of ambient vistas to explore, and the Hall Of Fame has loads going for it.”

Each pedal, besides the requisite knobs for tweaking, has a small number of selectable sound variations, one of the variations being TonePrint. Each of the sound variations represents a different configuration of a host of internal parameters and the TonePrint facility enables you to load a new configuration of those parameters, designed either by TC itself, or by a range of popular guitar and bass players.

TonePrints are freely available from TC Electronic and can be loaded into the pedal either via a USB computer connection or a free TonePrint app, beamed wirelessly from a smart phone.

The Hall Of Fame is the reverb pedal in the TonePrint range. It has the same form factor as its sibling delay, vibrato, chorus and flanger pedals that we looked at previously before the actual TonePrint loading facility was active. It can run from a 9V battery or
a standard adaptor. Battery access is by removing the pedal baseplate via a large chromed screw that moves easily, once loosened with a coin or screw.

A pair of dipswitches inside the pedal can select between the default true bypass switching and buffered bypass and set a ‘dry kill’ mode so you just get the effect with no dry sound when the pedal is used in an amp’s FX loop.

Operable in stereo as well as in a standard mono guitar pedal array, the Hall Of Fame features controls to set the amount of reverb and how long it takes to decay, plus there’s a very useful tone knob to make the effect darker or brighter. A two-way switch sets whether your reverb has a short or long
pre-delay – long giving a little more breathing space for your notes before the reverb kicks in.

A large rotary switch chooses between 10 different reverb types or the TonePrint. The 10 settings give you all the reverb types you could reasonably want as a guitar player apart from, if you’re into off-the-wall sonics, a reverse reverb.

Sounds

A spring simulation is often essential for those without one built into their amp, and the HOF’s spring recreates the flavour very well. Elsewhere, the simulations of various real environments add a realistic sense of space while the ambient setting can usefully add a bit of the sort of ‘air’ you might get by moving a microphone a little further out from a speaker cab.

Some will like the modulated delay, others may think there is too much of a chorus effect applied. But that may be where the TonePrints will earn their keep, as there are several different modulated options such as a chorused church and a couple that combine plate reverb with flanging.

The default TonePrint setting that comes with the pedal is a dynamic spring reverb that turns the reverb up and down depending on how loud you play, but TC Electronic has plenty more available. The current set of artist TonePrints includes ones from Paul Gilbert, Troy Van Leeuwen, Soren Andersen, Brett Scallions and Harry McVeigh of White Lies.

OK, these might not all be household-name players, but they’ve come up with some cool sounds – we especially like Troy Van Leeuwen’s Vibrato Spring and Paul Gilbert’s Otis Fieldsgood TonePrint, which adds a nice ambience to sustained notes.

Verdict

Adding a reverb pedal to your set-up can open up a range of ambient vistas to explore, and the Hall Of Fame has loads going for it. Not least that it’s dead easy to operate, and will take up less space on your pedalboard than any other comparable unit that we can think of.

The jam in the doughnut, though, is the TonePrint facility, which means that you will have a constant source of interesting new reverb sounds.

Read more about TC Electronic Hall Of Fame reverb at MusicRadar.com




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I Love the 70s: Complete Issues of Synapse Mag, A Look at Electronic Music’s Past

Thursday, April 5th, 2012

“Everything old is new again” certainly could be no more true than in electronic music, in which futuristic possibility is constantly expanded by our history, a tradition in finding alien, new sounds. So it’s a great pleasure to go back and read articles from electronic music’s past. They just might open a window to its future. They certainly seem oddly more relevant as they age, in many cases.

Keyboard (then Contemporary Keyboard) and Electronic Musician seem lacking in good archives, but at least you can explore the wonderful Synapse Magazine in its entirety, courtesy another synth legend – Cynthia at Cyndustries.

http://www.cyndustries.com/synapse/intro.cfm

I was aware of this archive for some time; I even wrote about it in the heady early days of CDM in 2005. (I must have been taking the same drugs as whomever designed Synapse’s cover art, because I inexplicably called it Synergy magazine, changing a brilliant name into a horrible corporate cliché in the process. I will assume the statute on copy corrections has past, and leave it for posterity. Sorry. I was so much older then; I’m younger than that now. And better at copy editing, I hope.)

Dangerous Minds brings it up again, as picked up by Metafilter – and thanks to everyone who shared this, including CDM’s own Marsha Vdovin.

Now: to outfit our studios to our satisfaction, then laugh heartily with evil glee as does TONTO here. We ask for so little much.


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Network Awesome Electronic Music Week: Way More Electronic Music Videos Than You Can Handle

Monday, April 2nd, 2012

Quit your job, leave your loved ones, stock up on food, and get ready to destroy your life with videos from YouTube. Network Awesome, a kind of curatorial “TV” network full of free online videos, has been assembling the best documentaries dealing with electronic music online, with hours and hours and hours of things that could basically keep you from, ironically, reading this site for the rest of the week if you like.

This isn’t just some random assortment, either. There are thoughtful assortments and surprise discoveries, including a celebrity-chosen set of some pretty far-out live shows pulled by Jan St.Werner of Mouse on Mars. (How Jan has time to watch YouTube in the midst of an obsessively-detailed production process and punishing touring schedule, I have no idea.)

As Network Awesome’s Jason Forrest tells CDM:

We have guest curated shows by Soul Clap & Mouse On Mars as well as specials on Aphex Twin, Clara Rockmore, Giorgio Moroder, Daft Punk and pretty much every other interesting electronic musician you can think of.

You can find everything on one massive archive page from last week. But here are a few favorites of mine, if the official Network Awesome page made your eyeballs fall out:

A collection of Aphex Twin videos:

An epic collection of IDM classics (remembering that the IDM dream of the 90s is alive on CDM):

Autechre – Gantz Graf
Plaid – Itsu
Aphex Twin – Donkey Rhubarb
LFO – Freak
Pan Sonic – Telakoe
Cylob – Rewind
Bogdan Raczynski – Ahou Bouken
Squarepusher – Come on My Selector
Seefeel – Fracture
Amon Tobin – Esther’s
µ-Ziq – Zombies
Oval – Ah!
Boards of Canada – Dayvan Cowboy

Mini Moog 00:12
Vocoder 09:45
DX7 20:19
Fairlight 30:27
Simmons 40:12
TB-303 50:27
TB-808 1.01.01
Akai Sampler 1.11.20

Channel 4′s 2001 docu “The Shape of Things That Hum” covers a significant lineup of electronic instrumental milestones, including the Minimoog, vocoder, Yamaha DX7, Fairlight CMI sampler, Simmons, Roland TB-303 and TB-808, and Akai sampler.

Live appearances by Jean-Jacques Perrey:

An all-live collection selected by Jan from Mouse on Mars:

1. Whitehouse – Live Action 39 Reseda 6-21-84
one of the coolest live electronic music perfomances ever. if kraftwerk would have performed like that they could have skipped the robot fake part and go straight to pop heaven.

2. Masonna @ Helluva Lounge, Kobe (May 2010)
not really pure electronic, rather an effect distortion cabaret in a beautiful stage design. you don’t know if any of the sounds are live and still it is such an outstanding performance.

3. Yannis Xenakis – Mycenae Alpha
it’s always hard to identify which actions exactly trigger which sounds in an electronic music performance. xenakis’ upic system provides the most obvious and honest translation: you can see exactly what you hear. as live as it gets in granular synthesis.

4. Jacques Tati – PLAYTIME
tati’s playtime is one is of my most favourite movies ever. it’s all choreographed around sound. this is a sequence in a hyper modern office building where the concierge is playing the most fantastic sequencer imaginable. replay, switch off the image and just listen to the sounds.

5. Tatu Tyni’s tap dancing cards
tatu tyni the godfather of skweee in one of his magic dance trigger performances.

6.Radioboy live @ Music Plane
perfect performance with a noble purpose. herbert as radioboy replaces the 808 with flaky cornflakes packages. bonus: introduction by mtv veteran ray cokes.

7. Michel Waisvisz – Crackle Synthesizer
michel waisvisz’ crackle synthesizer, probably the most immediate and beautiful synthesizer ever built. unfortunately it’s not michel who plays it in this video.

8. Michael Waisvisz – the Hands
so here is a clip with michel waisvisz, inventor the crackle synth. michel was also the director of steim, amsterdam’s legendary institute for electronic music research. he is using his other famous electronic instrument “the hands” in this clip.

9. Dick Raaijmakers – Intona (1992)
as there is no category for live microphonic music we lump this into live electronic. dutch composer dick raaijmakers doing all the things you ever dreamed of doing to a microphone.

10. Dj Elephant Power – Scratch Tv- Part 2
to round up this little journey into the world of concrete musical abstraction here is a live scratch anthem by dj elephant power.

Delia Derbyshire, Tom Dissevelt and Luc Ferrari feature in a collection of electronic pioneers working primarily with tape and simple electronics (before modulars and computers transformed the techniques of the medium):

Selected by The Sadnesses, Theremin virtuoso Clara Rockmore is seen in a series of performances and an interview. Whether she’s the only person to “master” the instrument is debatable, perhaps – but she is certainly incomparable.

The complete list:

http://networkawesome.com/special/electronic-music-week/


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UVI releases Electro Suite – Electronic Dance Music Instrument

Thursday, March 29th, 2012

Read the full story @ KVR Audio
UVI has released Electro Suite, a compilation of powerful instruments and a huge sound library – featuring construction kits, loops and single elements – exclusively dedicated to Electronic Dance M [Read More]
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UVI releases Electro Suite – Electronic Dance Music Instrument

Thursday, March 29th, 2012

Read the full story @ KVR Audio
UVI has released Electro Suite, a compilation of powerful instruments and a huge sound library – featuring construction kits, loops and single elements – exclusively dedicated to Electronic Dance M [Read More]
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TC Electronic releases ‘LM6 Radar Loudness Meter’ Native Plug-in

Thursday, March 29th, 2012

Read the full story @ KVR Audio
TC Electronic has announced that its new LM6 Radar Loudness Meter plug-in is now shipping. TC Electronic’s radar display has proven an efficient solution when upgrading audio production for broa [Read More]
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TC Electronic The Dreamscape

Monday, March 26th, 2012

When you’re a shred-Maharishi without terrestrial equal, with a mind that’s an instantly accessible compendium of esoteric music theory, you’re going to be at the very least particular about your tone.

Take John Petrucci: the Dream Theater guitarist has long since ascended the snow-capped mountains of musical omniscience, yet The Dreamscape is the first time he’s put his name to a pedal. Not only that, this chorus, flanger and vibrato pedal in one palm-sized chassis is also the first signature pedal that TC Electronic has made.

“There’s something elemental about the Chorus 1 setting; like dropping a frozen pea into a millpond, it has natural shimmer.”

Don’t be fooled: The Dreamscape is not a multi-effects unit per se. There are no patches combining all three modulation effects. Instead, there’s a seven-way effect selector that enables you to choose between Petrucci’s six custom-configured TonePrints, two distinct characters for the chorus, flanger and vibrato.

Wait, what’s all this TonePrint business, you ask? Well, rolled out at NAMM 2011, the TonePrints are downloadable custom tones, created by the likes of Joe Perry and Steve Morse, bringing some signature tone flavour to TC Electronic’s line-in stompboxes. Not only does this pedal house Petrucci’s six TonePrints, you can download any of the other chorus TonePrints from TC for free.

Like all great signature gear, TheDreamscape makes Petrucci’s tones accessible to all but, crucially, there’s still plenty of room to experiment with what is an incredibly versatile and musical pedal.

Petrucci’s TonePrints are set up for clean and crunch, but there’s no rule to say that his subtle flanger sweep isn’t going to work for you when you’re fingerpicking your sus2 chord of choice. Besides, the three-way Bright/Neutral/Dark switch is a nifty option to control how bold you want the pedal to be.

The rest of the controls on The Dreamscape are as you would expect: three pots each adjust level, depth and speed.

Petrucci’s chorus is based on TC Electronic’s TriChorus. The effect is that bit subtler, and there’s something elemental about the Chorus 1 setting; like dropping a frozen pea into a millpond, it has natural shimmer, adding depth to glassy-clean arpeggios.

Chorus 2 was inspired by Alex Lifeson of Rush, and keeps it real. It thickens the signal without rendering it over-processed mush. With modulation, you can really warp your tone – The Dreamscape’s restraint is a huge plus.

The flange has a great degree of subtlety, too, with Flanger 1 great for adding hot swirl to your cleans, and Flanger 2 a clear tone-grab by Petrucci for Eddie Van Halen’s slow-but-deep Unchained rhythm tone – reggae players and Pantera fans alike can both get joy from The Dreamscape. Petrucci prefers a wide vibrato with a low speed for a slightly disorientating Leslie effect, perfect for creepy chords but also bob-on for a singlecoil psychedelic strum without forking out for a 1969 Fender Vibratone.

At 200 quid The Dreamscape is not cheap but it has all the pro-quality build and tone you’d expect from TC.

Read more about TC Electronic The Dreamscape at MusicRadar.com




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