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5 Tidbits of Good News from WWDC for Musicians and Visualists

Monday, June 8th, 2015


Apple’s WWDC keynote this year is an mix of mostly consumer-focused, end-user features and the occasional nerdier developer-centric discussion, plus a healthy heaping of hyperbolae. (The App Store, compared to the invention of the telescope and the discovery of electricity — did I hear that right?) But, if you’re paying close attention, there are some tidbits of good news for people using Apple’s platforms for creative work — or making the tools those people use.

Before we talk about Apple Music, let’s look at the OS news.

1. Metal in OS X will open up new visual possibilities. Metal is mostly a tool for graphics, but it does two things: first, it radically simplifies coding (it even uses standard C++ for shaders), and second, it improves performance. That combination of ease and efficiency can make life easier for developers. Theoretically, someone could use these APIs to write audio processing routines, but it’s more likely to be used for graphics. I mention it here, as creative coders working with visuals might find this makes interesting visual performances and eye candy more fun.

Plus, if you use things like Adobe’s suite, it may run faster — and that’s good for video editors and the like.

2. OS X is getting incremental performance updates — and no news is good news. We don’t know much about this fall’s revision to OS X, so it’s mostly too soon to comment. But improved app launch and other incremental updates are hardly anything to complain about, yet. Also, each year around this time Mac watchers start making gloom and doom predictions about how Apple will replace OS X with iOS and destroy all your serious apps. It … doesn’t look like that’s happened here, for another year running. Sorry.

3. Multitasking on iOS will make music making loads of fun. If you like routing audio or MIDI between apps, you’ll love this. I really can’t wait to use effects and drum machines side by side, for instance — and the UI actually makes more sense than the one you get loading plug-ins into a DAW. Bravo.

4. iOS updates finally won’t be a chore. This had become a nightmare for app developers: iOS users failing to update because they couldn’t download the update. It’s not music-specific, but I know plenty of music developers who found it a huge issue. Leaner OS updates finally resolve that problem.

5. watchOS hardware is opening up. There are some intriguing changes in watchOS — mic input, audio playback (including to Bluetooth), and accelerometer and Taptic Engine data. Because Apple Watch is, by design, more restricted than the iPhone or iPad, I think it’s really more of an accessory to existing apps than it is a separate platform. But that said, these are the sorts of little changes that should at least allow some experimental watchOS apps for music.

Also, an open source version of Swift is rather interesting from a creative coding standpoint. I think it’ll become news if someone ports it to Windows — because then, you could imagine people learning creative coding for music, visuals, and design via Swift.

Also, it was nice to see music apps for deaf people — that isn’t hyperbola; that’s magic.

Photo courtesy Apple.

The post 5 Tidbits of Good News from WWDC for Musicians and Visualists appeared first on Create Digital Music.


NI Traktor Kontrol S8: Big Screens, Remix Controls – and Why Killing Jog Wheels is Good

Monday, September 22nd, 2014

Numark may have announced this week that it’s shipping the Numark NV controller, adding two displays with a window on Serato. But Native Instruments, for their part, appear no longer to be satisfied letting you hear about their upcoming Traktor Kontrol S8 via leaks on forums and social media. (Yes, uh… some of you noticed that.)

No, this time, we get to see the Kontrol S8 in an official Native Instruments video.

And right away, you’ll notice a big difference between Numark’s and Native Instruments’ perspective on the future of the controller: the S8 ditches the big jog wheels.

Frankly, I think it’s about time. Turntables are wonderful. But pretending a big wheel is a turntable on a digital interface is mixing metaphors. it makes about as much sense as adding a food trough to your garage and driving your car with a pair of reins because you miss your horse. Okay, sure, it works on a CDJ — though even there, what if a CDJ had controls befitting the fact that it’s a digital deck, not an interface for manipulating a disc?

Or, as Back to the Future so wisely put it while sucking its wheels into the body of its car:

But the best reason to nix the jog wheels is to have space for something more useful. It frees up a layout that can add controls newly introduced by digital DJing, for manipulating Remix Decks and other parameters, as clearly seen in the video.

Now, I know I’m getting into some trouble here. Jog wheels mean that you can mix music manually, as with a turntable. But then, if you want to do that, don’t you want control vinyl? And if your software can sync music for you, then why not set yourself apart using other DJ skills?

About that video… yes, you have to wait through the agonisingly-long, cliché shots of slow-motion partying, and some fairly vacuous quotes of major artists repeating different takes on the Native Instruments slogan. “It’s like Schlesiches Str 28 10997 Ber– … oh, sorry, that’s the address. I mean, it’s like the future of sound!”

But when they actually get to the hardware, it leaves little to the imagination. You really see the S8 — and the absence of jog wheels. (They’re not hiding underneath, I don’t think.) And one thing they do say that’s relevant: you can use the hardware without looking at a computer screen, taking Traktor in the direction Maschine and now Komplete Kontrol have gone, too (as well as products like Ableton’s Push).

Let me speculate about this. Actually, let me not. I prefer to talk about things when we can go into actual details and hard specifics. Also, I think the NI legal department can actually see me when I take a lunch break, and they might poison my currywurst. (Or, worse, some food in which you might notice someone adding something toxic.) But if you aren’t satisfied freeze-framing YouTube, apparently this image, leaked broadly via image search a couple of weeks back, is now running widely in the press:


The teaser video … well, you won’t like it, but here we are. And we do have actual hardware coming soon to check out. Stay tuned.

But please, musical instruments industry, start making ads like this:

Car commercials from the 1980s were completely insane

The official site, now live:

The post NI Traktor Kontrol S8: Big Screens, Remix Controls — and Why Killing Jog Wheels is Good appeared first on Create Digital Music.


Listen as a Compiler Makes Weirdly Good Blippy, Glitchy IDM Sounds [Free Tools]

Monday, July 28th, 2014


What’s the sound of a compiler compiling?

Normally, nothing — a compiler crunches numbers and outputs code. “malloc” is a C function that allocates memory in which code executes. But a simple hack takes the output of the compiler, and makes sound files out of it. It’s the equivalent disconnecting the pipe from a widget-making factory, and instead of producing useful tools, making cool shapes out of sugary icing — useless and delicious.

You actually don’t have to know anything about code to try this out; you just need to paste some lines into a command line. That means you could make your own sounds with the tool if you like. (Your life will be easier if you use Linux or OS X; Windows users will need to look up how to get a UNIX command line working — like Cygwin or GOW.)

The author has already posted some “musical” examples to SoundCloud. My favorite is the first one; it’s almost listenable as a glitch track. (More than almost, actually, at least if you’re a bit weird like me; I’ve been oddly soothed by letting it run for a bit in the background.)

Creative Commons-licensed — non-commercial, so sorry, you can’t turn in this file as the music bed for that Audi ad you were commissioned to make. (And you were all set to explain to them that this is what “dubstep” means to kids now.)

Sounds like it can also make some damned fine basslines. malloc(), the new 303:

This one… gets more interesting later. (Best use of this comment ever: “where’s the drop?”)

So good.

The project is the work of Thomas Gordon Lowrey IV, aka gordol. On his GitHub, he makes all sorts of productive things. None can match for me taking 67 lines of code and nerding out.


It’s also fun watching SoundCloud decide what tracks should be related. Dear Universal: try to take this down.

Thank you, Myles Ashley Borins.

The post Listen as a Compiler Makes Weirdly Good Blippy, Glitchy IDM Sounds [Free Tools] appeared first on Create Digital Music.


Good News, Windows Producers: FL Studio Goes 64-bit

Monday, July 14th, 2014

FLStudio64 BitRC_small

Imagine if you could go back in time and tell yourself you could some day you would have a copy of Fruity Loops that supported up to 512 gigabytes of RAM.

Well, while it’s doubtful anyone will use that theoretical capacity, technically speaking that day has arrived.

The big news: you’re no longer limited to 4GB of RAM in FL Studio. FL already let you skirt that problem a bit by loading plug-ins and samples separately, but in 32-bit mode, “the core FL Studio 32 Bit process is still limited to 4 GB and so out-of-memory errors can occur when editing very long audio files in Edison, or when the memory management techniques are not used. This won’t happen with FL Studio 64 Bit. Additionally, FL Studio 64 Bit also includes a complete update of most plugins to native 64 Bit format.”

It may seem a little late in the game for FL to be going 64-bit, when DAWs like Cubase and SONAR have had support for a long time. But given that the main deciding factor in choosing 64-bit over 32-bit is how much of your plug-in library is 64-bit, now is a reasonable time to finally take the plunge.

Image-Line take a conservative stance on performance. Whereas Cakewalk, the first significant Windows music adopter of 64-bit, touted performance gains in 64-bit computation, Image-Line argues that in real-world operation, it makes little difference. I can’t verify that, but avoiding out-of-memory errors seems reason enough me to make the move, unless you rely heavily on lots of old plug-ins.

And beyond that, what’s most important: the transition is seamless.

There’s a single installer. (It adds two icons, one for 32- and one for 64-bit operation.)
You can use any plug-in in the 64-bit version. (64-bit plug-ins run native; 32-bit plug-ins are bridged.)
Projects can be exchanged between the two versions.
If you do have another 64-bit host, from Ableton Live to Cubase to SONAR, you can now add FL as a 64-bit plug-in.

More info in their Knowledge Base:
FL Studio 64 Bit vs FL Studio 32 Bit

Also, if you want to watch your changelog as a YouTube video with a trance music backdrop, yes, Image-Line has you covered. Also … uh, no, not in that category myself, so I appreciated the text above.

The post Good News, Windows Producers: FL Studio Goes 64-bit appeared first on Create Digital Music.


The Terrible, Horrible, No Good, Very Bad Google Music Contract?

Wednesday, June 25th, 2014

Google isn’t just being a little bad in their contract negotiations with indie labels. In a leak to Digital Music News, it proves to be the worst contract I or anyone I’ve talked to has ever seen, for anything music-related. It puts the “boiler” in boilerplate.

F*&K It: Here’s the Entire YouTube Contract for Indies…

If this leaked contract is what Google still stands by, and current analysis in the music press is correct, the deal is deeply unsettling. It blurs the lines between free and premium services by placing them all under a single contract. YouTube and its Spotify rival would be under one deal. It sets rates independently for smaller labels based on a single, not-very-good fee. And then it protects Google from any action that would stop unauthorized or pirated uploads to their services.

I can sum it up roughly this way, unless I’ve seriously misread the terms and their intentions:

Sign this contract. It covers everything Google does — free (like YouTube) or otherwise. It lets us specify license terms and royalty rates, not you, and not any organisation that represents you. It gives us rights to all your music, and all your music videos, and everything else. It gives us rights to pirated music and videos other people upload, too. And you promise never to sue us.

(and another thing.) Sign it, or we’ll ban you from YouTube for your own content.

The key sections to watch out for: not only is there a “do not sue” covenant that prevents labels from protecting their own content, but it merges free services (apparently including YouTube) with the upcoming premium ones. At the very end, you’ll also find the royalty rates that had frustrated indies, which are reportedly lower than those they had gotten from other sources and lower than what majors had been offered. (The numbers are now out there for discussion.)

But the real surprise here is the lawsuit immunity provision. It’s easy to understand why Google would want it; it’s just that if they succeed in forcing labels to sign, it’s a fairly ugly development. It was already shocking enough that Google would hold hostage music uploaded by artists and labels to YouTube just to get preferential terms for the company on its premium service. It’s even more shocking that it would protect non-authorised, pirated content in the same contract, blurring premium and free services.

Or, as The Register more succinctly put it:

…the move will preserve Google’s illegal supply chain by cracking down on its legal supply chain.

Google’s proposed indie music-killing contract terms

Unless Google can explain otherwise, that is, the current understanding is that Google is threatening legal content that follows its terms of service, as part of a contract that would protect illegal content that violates it.

That’s a low not even the likes of Napster or Megaupload or Pirate Bay ever reached.

Google might not have to block labels and artists from YouTube. If this remains their negotiating contract with indies, those musical entities would be well advised to abandon Google’s services of their own accord.

And if this is all wrong, and this isn’t what Google is offering — or if it is, and they have a change of heart — the company needs to quickly get out in front of the music community and public with better terms.

The post The Terrible, Horrible, No Good, Very Bad Google Music Contract? appeared first on Create Digital Music.


Extra Modulation, Extra Routing: What the QuNexus Keyboard is Good For [Videos]

Wednesday, July 10th, 2013

Various keyboards this week are offering lots of extra features, and Keith McMillen’s compact QuNexus is no exception. The keys add pressure sensitivity, there’s a tilt sensor, and in addition to (driver-free) USB MIDI connectivity and pedal input, there’s control voltage output for use with analog gear.

So, it’s worth asking: what’s this for? Do you actually want it?

This week, we’ll have the exclusive first review of the QuNexus, but a good prelude to that read is to see how others are using the gear.

The short answer is, if you’re using a synth in particular, yes, it’s absolutely useful to have extra modulation under your fingertips. At top is the latest video from KMI, showing Moog Music’s Animoog running on the iPad. It’s a perfect example, in a way, in that it really makes sense for this timbre that the sound would change between when you press a key and when you release it. While I find navigating the pad-style keys of the QuNexus not quite as easy as getting your fingers around a conventional keyboard, here, there’s an advantage.

Here’s how the mappings work: “In this example, QuNexus’ polyphonic pressure sensitivity is mapped to Animoog’s Orbit function, which effects timbre, and QuNexus’ tilt sensitivity is mapped to Animoog’s resonance.”

I spoke more with KMI about how they envision people using the instrument and what feedback they’re getting so far.

The QuNexus sure is small - but it packs some nice pads. Here it poses next to a Mac laptop for scale. Photo courtesy KMI.

The QuNexus sure is small — but it packs some nice pads. Here it poses next to a Mac laptop for scale. Photo courtesy KMI.

Performance Scenarios

Of course, it’s the manufacturer’s job to say something is good for everything (and keep track of all those applications), but KMI’s Steven Fruhwirth does tell CDM that people are using the QuNexus in a variety of ways. “We’re seeing a wide variety of usage by all sorts of users, from full on soft synth players, to modular CV synth control, to mobile learning and performance software,” he says.

Specifically, you can use it in a host, and I think most practically as a control surface for synths or effect parameters, controlling those as you play. Fruhwirth explains:

Live, Reason, and Logic are all very popular and QuNexus works well with each. Reason 7 even has built in control surface support for QuNexus. Multi-timbral synths can be made in each of these applications and are fun to play when QuNexus is in “Channel Rotation” Mode (where each new key gets its own MIDI channel). Mapping pressure and tilt to various synth controls (like filter cutoff and resonance) is a good way to play soft synths more naturally and expressively.

Specifically, the question is how to work with tilt and pressure:

Often, people map key tilt to pitch bend (whether poly-pitch bend/channel rotation is on or not). In office, we like mapping key pressure to various filter and timbre based controls. Filter cutoff and resonance is a fun and expressive pressure mapping. It can also be enjoyable to map pressure to a delay or reverb wet/dry knob. This way, playing louder/harder or quieter/softer will affect the quality of sound, such as in the Erika Oba video where pressure is mapped to reverb (see link below).

To see what this looks like in practice, they have a number of examples in videos. First, from the video they used while promoting the crowd sourcing — which, natch, includes the requisite Jordan Rudess appearance. (Is he some sort of omni-dimensional being who is able to be co-present with all alternative keyboards at once?)

There’s also a mapping in a more orthodox context, a performance of Gershwin by Erika Oba — here, just using wet/dry reverb. I’m not sure I’m in love with that particular effect, just because normally the ear associates reverb with a sonic environment, and so this creates an effect somewhat contrary to the laws of nature and physics.

That said, though, you could substitute other effects (delay, whatever). And what’s interesting here is that Erika was up and running fairly quickly. (I know I need to practice with QuNexus a bit more if I want to build up dexterity, but she’s on her way.) Fruhwirth tells us:

One thing that’s interesting about Erika’s performance is that software synths are a brand new thing for her (she had never tried one before we had her install a trial version for Ableton 9). When she came in to shoot the video, she had been practicing with a standard piano patch (the goal of the video was to show playability). After a few songs we switched it to an electric piano with pressure mapped to reverb to see how she’d like it. She was jamming in minutes!

Routing CV




From top, some of the ways KMI imagines you’d use their I/O functionality on QuNexus: it can be connected directly to analog gear, optionally with the addition of MIDI connectivity (via their MIDI Expander), or with the addition of a computer (via USB).

Because of that CV output, there are a number of ways to rig up the QuNexus and Create Analog Music.

The conversion aspect is one of the most interesting aspects of the CV output feature — the raw analog voltages used by modular gear (and now keyboards like the KORG MS-20 mini, though you’ll need an additional voltage converter).

You can use the QuNexus as a controller for analog gear on its own, and its form factor is reminiscent of touch modules used for playing vintage gear like the Buchla. But it also works as a means to converting conventional MIDI input for use with this equipment.

In this video from earlier in the crowd-funding phase, KMI demonstrates both those scenarios:

We had one CDM reader ask about latency and data smoothing. KMI confirms they’ve improved performance there:

We reduced the smoothing by 70% and also improved gate response time significantly. Taken together the QuNexus has a clean and snappy CV response.

Stay tuned for our full review.


The post Extra Modulation, Extra Routing: What the QuNexus Keyboard is Good For [Videos] appeared first on Create Digital Music.


Germany to Detroit: Good Listening from DJ Koze, Juan Atkins [Mixes, Release, Reading]

Friday, June 28th, 2013
if your summer needs heat, you could do worse than starting with Juan Atkins. The techno legend is warming up New York this weekend, hot on the heels of another epic collaboration with Moritz von Oswald. Flying Berlin to America is still a trick, but at least the musical connections are nonstop. Photo courtesy the artist.

if your summer needs heat, you could do worse than starting with Juan Atkins. The techno legend is warming up New York this weekend, hot on the heels of releasing an epic collaboration with Moritz von Oswald. Flying Berlin to America is still a trick, but at least the musical connections are nonstop. Photo courtesy the artist.

Switch off that negative talk: vibrations between musical scenes continue to resonate and grow. Here we have two artists, each somehow evergreen and still blossoming, making the link from past to future feel secure. And speaking of good vibrations, I can think of no better way to get the summer vibes going this weekend than warming up with this warm up and mix.

So, we turn to Detroit’s Juan Atkins and Hamburg’s DJ Koze to set us straight. They demonstrate that channels between Germany and Detroit remain open and live, that maybe the best days of cross-pollination are ahead, not behind. Have that summer musical fling and see where it leads. (Uh… creatively. Come on, it’s Friday, and any words I write are a distraction from this great music. So on with it.)

DJ Koze.

DJ Koze.

Let’s start with Juan Atkins. The results are out, and the collaboration with Moritz von Oswald may be some of the best dance music out in 2013. It’s all beautifully engineered, endlessly economical, but deeply soulful music; strongly-felt music that emotes effortlessly. Borderland is out this week on Tresor Berlin (the label that shares the name with the long-running club).

Once again, to crib Atkins’ words, “jazz is the teacher.”

Description from the label:

After more than two decades of behind the scenes collaboration Juan Atkins & Moritz von Oswald present Borderland — their debut collaborative album to be released this summer on Tresor Records.

The album — made up of 8 sequences, which seamlessly blend the styles of both masters — was recorded at the beginning of 2013 over various studio sessions in Berlin and will be released as a series of three 12″s and a CD album. Limited to 500 units, pressed on heavy vinyl and packed in hefty sleeves, the three part vinyl series, gathers all but one title present on the CD format.

Together with a series of live shows debuted in May at MUTEK festival, with follow-ups in Berlin, Amsterdam, London, Paris — the record gives common voice to two independent yet mutually supporting musical journeys, achieving a singular expression of club-orientated electronic music and the freedom of organic musical experimentation.

FACT Magazine did a nice retrospective on how this collaboration came about — you can hear that relationship all over the record, but if you care to know where those fingerprints came from.

And Brandon Bussolini, writing for XLR8R, I think goes deepest into the significance of this release.

Deep Inside: Juan Atkins & Moritz Von Oswald ‘Borderland’ [XLR8R]

Tresor and Hard Wax have become sort of name brands, and in that sense risk being stand-ins for real musical activity. But here, the Berlin landmarks did have a hand in forging the connections that made the musical collaborations happen, as Bussolini tracks their evolution. Note words like “funky” and “natural” — making something feel like second nature is no small matter, when overactive brains can too easily overthink a musical expression. And Bussolini wrestles with the dangers in techno, that it become so industrial it turns into a “meat grinder,” or that it loses its connection to lightness or jazz. It’s a nice read — or maybe I’m just a sucker for Messiaen references. As Bussolini summarizes the appeal of this record:

This combination—Atkins’s practical mysticism and Oswald’s ductile minimalism—makes Borderland feel earthy and enchanted at once, playing off the misty forest pictured on the album’s sleeve art.

Moritz and Juan apparently don't want to talk about technical details of their production method. (Guys, don't worry. The rest of the music scene is demonstrating quite well that they don't know how to rip you off. Ahem.)  But CDM has a theory. We believe knobs and faders were involved somewhere, possibly with mixing. Image courtesy the artists.

Moritz and Juan apparently don’t want to talk about technical details of their production method. (Guys, don’t worry. The rest of the music scene is demonstrating quite well that they don’t know how to rip you off. Ahem.)
But CDM has a theory. We believe knobs and faders were involved somewhere, possibly with mixing.
Image courtesy the artists.

If you can read German, there’s also a wonderful review by Thaddeus Herrmann that reflects on the cyclical meaning here:
Juan Atkins & Moritz von Oswald: Beton, Brache, Berlin [De:bug]

Actually, you can probably follow it even if not:

“Ich habe ein Déjà-vu. Berlin, Detroit, die Express-Autobahn … In Michigan: die Originators. Mensch, Maschine, Automation … In Berlin: staatlich subventionierte, aber nicht weniger verbrannte Erde. Mensch, Maschine, Mauer.”

Meanwhile, in America, New York City is again enjoying their terrific Warm Up parties at PS 1, bringing together local Queens residents and culture snobs and club kids and families to sweat together at an art museum. And Juan Atkins is part of a dream lineup this weekend that includes some of our favorites from genre-bending label PAN — Lee Gamble, NHK’Koyxen, and Bill Kouligas, specifically.

If you aren’t near the 7 train, you can still enjoy the podcast:

And head to podcast host FADER for an interview with Maestro Atkins himself (the interview isn’t embeddable, but you can download it past this link):
FADER/MoMA PS1 Warm Up Mix: Juan Atkins

Straight Outta Hamburg: DJ Koze

If Atkins and von Oswald represent a still-fresh, still inspiring look to the past, DJ Koze might take you into the future. Stefan Kozalla builds on German dance music traditions (on KOMPAKT, about to celebrate their anniversary in a big way), but has done more than almost any other to lead new sounds (on Pampa). Like the duo above, he’s also back after a long hiatus, with PAMPACD007 — Amygdala.

Resident Advisor reviewed that instrumental epic when it came out earlier this year.

And here’s Koze on FACT, with a terrific mix. Mixes have become so commonplace that some seem lifted from iTunes or Spotify playlists — and do little more than those static playlists might. This is a proper mix, by contrast, beautifully weaving one track to the next. And the track listing itself is thoughtful, spanning Koze’s best and the good stuff on Pampa, but also pointing to some music now you’ll want to keep hearing again and again. (With certain, cough, summer jams somehow inescapable, it’s about time you take what’s on repeat into your own hands, no?)

FACT mix 387 — DJ Koze (June ’13)


Child Of Lov – ‘Call Me Up’
Jono McCleery – ‘Painted Blue’
Sohn – ‘The Wheel’
Enja – ‘To Go Beyond’ (Dntel Edit)
Harry Belafonte – ‘Mo Marry’
DJ Koze – ‘Don’t Lose My Mind’
Bibio – ‘You’
Dürerstuben – ‘Freiherr In Der Wall’
Recondite – ‘Felicity’
Dj Koze – ‘Nioces Wölkchen’
JaKönigJa – ‘Be Kind To Be The Shape’
Herbert – ‘You Saw It All’ (DJ Koze Remix)
Matt Karmil -’Reverse Peephole’
Westbam- ‘You Need The Drugs’
Christian Löffler – ‘Eisberg (Hemal)’
Bibio – ‘You Won´t Remember’

The new Bibio I’ve been thoroughly enjoying, and I’ve loved the music of Sohn — hoping to work up an interview with that emerging artist, so let us know if there’s anything you want to know. (Maybe Sohn is also using these knobs and faders Borderland did? Or other questions, too.)


Have a great weekend, everyone.

And stay cool.

The post Germany to Detroit: Good Listening from DJ Koze, Juan Atkins [Mixes, Release, Reading] appeared first on Create Digital Music.


What is a good program, that artists use you record there music?

Wednesday, May 29th, 2013

Question by Paul Singh: What is a good program, that artists use you record there music?
I have a friend who’s starting to rap, but he has bad quality right now. What is a good program for artists to make record their music?

Best answer:

Answer by Steve
Try Fl Studio, http://flstudio.image-line.com/
make your own beats and record your vocals on it aswell, might take a little bit to learn but thats what google and youtube is for.
you’ll also need a decent headset or mic.

Others to record vocals n make music:

Magix music maker
Sony Vegas

Fl Studio is by far the best in my opinion, i make Drum n bass mixes + trance, works lika dream.

Know better? Leave your own answer in the comments!

Anyone have any good recipes for waffles that work good on the G5 Foreman Grill?

Tuesday, May 28th, 2013

Question by your_futurexwife: Anyone have any good recipes for waffles that work good on the G5 Foreman Grill?
I just got a G5 Foreman Grill, it hardly includes any recipes. It comes with the waffle plates but no recipe…go figure! Could you please share your favorite waffle recipe that would work well with my new grill.

Best answer:

Answer by Stephanie S
My George Foreman G5 came with The Next Grilleration G5 Cookbook by Deb Roussou, didn’t yours?

To cook two 5.5″ by 7″ waffles, it takes about three to four minutes and it is basically the same operation as any other waffle maker. After making the batter and preheating the grill (with the proper plates attached), I spray it with non-stick spray, pour about 1/3 cup of batter onto the bottom plates, close the top and wait a few minutes until I get perfect waffles that are easy to remove and taste great!

Here is the easy recipe I use!

Best Waffles Ever

(5 servings)

1 and 3/4 cups flour
2 teaspoons baking powder
1 Tablespoon sugar
1/2 teaspoon salt
3 beaten egg yolks
1 and 3/4 cups milk
1/2 cup vegtable oil
3 egg whites – beaten stiffly
Mix all dry ingredients. Combine yolks and milk. Stir into dry ingredients. Stir in oil and mix. GENTLY fold in beaten egg whites, do not over mix.

Pour about 1/3 cup at a time into waffle iron on the grill..

So light and so fluffy!

Know better? Leave your own answer in the comments!

Q&A: Best over the ear headphones for a good price?

Tuesday, May 28th, 2013

Question by Msmeliss: Best over the ear headphones for a good price?
I am looking for the best brand of over the ear headphones I can get for around/under $ 50. (My boyfriend is very particular about his headphones, and I want to get him some really nice one’s for our anniversary). Any help is appreciated! Thanks!

Best answer:

Answer by DanMagic
If you can up your limit to about $ 80, you should get the Sennheiser HD 280 Professional Headphones. These deliver clear, crisp sound that just can’t be beat for the price. Sennheiser is one of the top names in headphones and make some of the best headphones available. However, if you can’t go up to $ 80, then I suggest the Skullcandy Lowrider Headphones. They also produce great quality sound and come in a variety of cool colors. Skullcandy is one of the newest and fastest rising headphone makers. The Lowrider usually costs about $ 40. I found reviews on both of them at my favorite review site. Check em out.



Hope that helps and happy anniversary! (whenever that may be, haha)

What do you think? Answer below!