Question by Dvr: what is the best free music beat maker download i can get?
any as long as there free
Best answer:
Answer by Call a spade a spade
Linux MultiMedia Stuios (LMMS), you dont have to have Linux to use it, it works fine on Windows and Mac, its the best fullware progeam you’ll get for free
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Music software aimed at beginners comes and goes, but Magix’s Music Maker series has more staying power than most, with the firstversion dating right back to 1994.
Recent versions have been mediocre, and we awarded 2008′s Music Maker 14 a 6/10 score, citing its lack of stability and quirky interface as detracting from an otherwise decent feature-set. So has Magix upped its game since then?
Not really; the program is still pretty much the same deal, and the most obvious development is that the interface now looks slightly more like GarageBand.
Sadly the similarities between Music Maker and Apple’s lauded entry-level music software end there. GarageBand skillfully weaves simple but powerful music-making tools into an easy-to-use package; Music Maker is a maelstrom of features piled on top of each other in such a way that it’s arguably harder to understand and get to grips with than some pro software.
On paper, Music Maker MX Premium is an amazing deal: it supports ASIO, you can use VSTinstruments and effects, and there’s a huge sound library and plenty of built-in instruments, including the pre-existing Revolta 2 synth (which we really like) and some all-new ones.
Century Guitars is actually a single guitar sound with a bunch of effect variations. It’s OK for simple stuff, but no great shakes, though you can run it through the included Vandal SE guitar amp sim.
Electric Bass is again based around one patch, but this time the effects provide more meaningful variations. Lead Synthesiser is another sample playback instrument, though this time the selection of sounds is more varied.
Drum Engine is a drum sampler with a seemingly broken amplification envelope where the Sustain and Decay sliders don’t make any difference to the sound. Finally, Loop Designer appears to be a rehash of the Drum&Bass Machine from previous versions – and there are even parts in the manual where it’s accidentally referred to by its former title.
Other features include 5.1 surround mixing, ReWire capability, the ability to publish projects directly to SoundCloud and Facebook (new in this version), pitch and time correction, video effects, CD mastering… the list goes on and on. It’s not as if the interface is badly designed either – it’s clean and appealing, and includes an Easy mode that hides some of the advanced features.
Unfortunately, when all these elements come together, they add up to considerably less than the sum of their parts.
While it’s easy on the eye, the interface is fiddly and awkward, with various usability issues; the audio engine is glitchy and unstable; the graphics are also glitchy at times; the manual has numerous errors, omissions and inconsistencies; and, just as inprevious versions, many of the included instruments and effects pop up in their own window that stops you from tweaking anything else while you’re using them.
As with MM14, we found it impossible to monitor audio through Music Maker while recording, and we noticed users complaining about this fundamental issue online, too. It’s a major problem that Magix needs to resolve.
Used as a basic eJay-style ‘loop ‘em up’, it’s not terrible; and the enormous loop and virtual instrument preset library is of good quality, covering many accessible musical styles. Still, considering that so many of the features clearly mark out Music Maker as intended for proper recording/mixing – and the fact that it’s actually more expensive than, say, Cubase Elements 6 – that’s not exactly a ringing endorsement.
When it comes to ease of use and getting good results with a minimum of fuss, Music Maker is outclassed by practically all other music software packages that we’ve tried in its price range. Its frustrating quirkiness negates the value of its decent sound library and myriad capabilities, the potential of which will largely gountapped due to the way in which they’re presented.
As such, it’s extremely hard to recommend Music Maker to any but the most patient computer music novices.
Read more about Magix Music Maker MX Premium at MusicRadar.com
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Question by Aubrey M.: How to get music saved to your Xbox 360 hard drive from you computer?
I bought the 250gb Xbox last summer and would like to move about 100gb of my music from my computer to my xbox to free up space on my computer. How do I transfer the music from my computer to my xbox to store on there?
Best answer:
Answer by ✡Stalrus ✡
It isn’t possible.
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You might not expect a handheld game console, the gadget kids use to play Pokemon, to prove much worth as a musical instrument. But even in the age of readily-available computer plug-ins and iPhone apps, the DS holds its own. In the hands of two sets of artists, we find music that stands alone, independent of the gimmick of the device on which it was made. For these artists, the limitations of a fold-up touchscreen – entirely independent of doubling as a phone, or a computer, or a Facebook-browsing engine, or a powerful 64-bit DAW – apparently prove enticing. Beginning with Korg’s DS-10 cartridge, they use a stylus-operated software synth with its own unique character.
On some level, I almost hesitate to wax poetic about the fact that these were made with a Nintendo DS at all, because what these are, really, is love letters to synthesis.
And as it happens, both are available as free downloads from Bandcamp.
First up: AuxPulse is the duo of Rutger Muller and Michael Vultoo, based in Amsterdam and Kockengen, Netherlands, respectively. Late last year, they debuted their first album at Amsterdam’s prestgious Stedelijk Museum of modern art, playing a big set (two and a half hours) on small devices. Primarily employing the Nintendo DS, they nonetheless produce sounds that are rich and layered, sometimes even tending to the ambient exploration, not just the rawer chip-music sounds regularly associated with Nintendo handhelds.
Their music is trippy but danceable, unapologetically electronic, fully exploiting the DS-10′s idiosyncratic sonic character, one that’s slightly lower-fidelity than many soft synths (or even iPhone apps), without being “chippy” in the sense of retro devices. Dark textures collide with precise, clockwork rhythms, in sounds that sometimes tend to acid techno and sci fi game realms. (Lo-acid-fi, anyone?)
As you watch them live, you also see the value of the interface compositionally, both in terms of its pattern banks and its more conventional synth controls, all manipulated with the added precision of a stylus.
As they put it:
We aim to bring experimentation back to the dancefloor by expressing a psychedelic atmosphere through the use of a variety of rhythms and moods. Some of our inspirations are analogue synthesizers, acid, IDM, hardcore, gabber, ambient and oldschool electro.
Right now we mainly use the KORG DS-10 synthesizer for Nintendo DS to compose and improvise our music. When playing live we fuck with the synths as much as we can, trying to surprise ourselves with new sounds.
Our first album was recently released in Stedelijk Museum Amsterdam! Now we perform regularly, trying to open up some minds and move some feet.
The album, on Bandcamp:
Dream Stages by AuxPulse
And on SoundCloud:
Bonus: an interview with them (in Dutch, naturally)
In a very different direction, Princeton, New Jersey-based DJ and producer Christian Montoya (love and tonic records) produces music on the DS-10 that’s drier and more exposed, as he programs intricate bass music on the unprocessed Nintendo cart. Christian works as a game designer by day, and channels some of the DS-10′s game music and so-called “chip music” heritage. The results, though, are a perfect marriage of game chip-waveform rawness, nude bass and synth and percussion sounds, and carefully-concocted grooves. For anyone concerned that game systems could hinder moving your butt out of the seat, this album is required listening. It’s utterly stripped-bare dance goodness – and it turns out the DS bass sounds fantastic.
Grab the record for free:
DS-10 users, got any tips for us on getting the most out of a Nintendo handheld and this KORG synth? Let us know.
Question by : How do you transfer iTunes music from one computer to another?
I have an iPod and all of my music is on my old computer. I recently got a laptop and I wanted to know how I can transfer all of my music and everything else from my old computer to my laptop without messing anything up.
Best answer:
Answer by GirlyGurl96
Use a thumbdrive. Get a USB drive, go to iTunes > Select all songs and drag them to the USB folder. Download iTunes on your new computer, plug in the USB and drag the songs in the new iTunes.
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Read the full story @ KVR Audio
Full Bucket Music has released the deputy Mark II, a free VST2.4 software instrument for Windows in the tradition of classic string machines and early “polyphonic” synthesizers, written in native C++ [Read More]
AudioProFeeds-1
from warbeats.com NFX is back with a new video on the importance of staying in key and how it makes it easy to have a good sounding track.
Question by bangbangsksk: i just got a new computer how do i download music onto my ipod with out the songs on my ipod gettin deleted?
how do i use my ipod on my new computer without my music on my ipod getting deleted?
Best answer:
Answer by g4ng5tarr
i dont think u can, sorry
What do you think? Answer below!
Turning music and sound into three-dimensional worlds often yields something that fields like a trip through space. But this feels like a real trip. Through pulsing, glowing starfields, “Versum”‘s audiovisual movements are brain-bendingly transformative. Artist Tarik Barri has created an integrated world of sound and image that makes the interface and the compositional realms seamless. It seems as though this really is a musical universe, through whose harmonies of the spheres you can fly like. Boldly going, indeed.
Ingredients: Max/MSP/Jitter, Processing, Java, SuperCollider, GLSL [the 3D shading language], and … some serious skill and time, I imagine.
The work has been in development for some years (not surprisingly, given the results). But it surfaced again as we brought up the 3Dconnexion SpaceNavigator hardware as a practical controller for 3D. See Create Digital Motion:
Look at Me, I’m Flying: SpaceNavigator Hardware + Blender
Tarik’s work resurfaced after a presentation in the UK. Reader janklug writes:
I’m just back from the M4_u Max/MSP/Jitter conference in Leicester (was great, btw), where Tarik Barri presented his project ‘Versum’, both as an installation and as a performance.
The user (and in case of the performance, Tarik) navigates through this incredible 3D-space-sequencer-universum with the help of a SpaceNavigator; glowing objects floating in this space produce sound, and as you approach them, they even give this nice doppler effect…
It was totally amazing to be able to float between pulsing rhythm-planet-objects and shiny drone-beams; navigation was easy and natural. Tarik uses a combination of Processing and Max/MSP; don’t know which one the SpaceNavigator is connected to.
Having tried this, I immediately ordered one; I think it also could be a great interface for M4L…
More information:
http://tarikbarri.nl/projects/versum
PDF documentation [2009]
Significantly, it’s really the act of flying that controls the music. That remains interactive, but it’s the movement through the three-dimensional space that determines what you hear. As the artist explains:
This virtual world is seen and heard from the viewpoint of a moving virtual camera with virtual microphones attached. This camera, controlled in realtime by means of a joystick (or any other kind of controller) moves through space, similar to how first person shooter games work. Within this space, I place objects that can be both seen and heard, and like in reality, the closer the camera is to them, the louder you hear them. So when the camera moves past several visual objects, you simultaneously hear several sounds fading in and out. Consequently, the way the camera travels past them actually causes melodies and compositional structures to be seen and heard.
The visual position of each object coincides with the panning of its sound: objects to the right of the camera will also be heard on the right, and those behind the camera will be heard from behind in case a surround speaker setup is used. This principle also applies to the Z-axis, meaning that sounds can be heard coming from above and below if the speaker setup supports it.
That’s the essential question, to me, when looking at 3D environments for music. What about the dimensionality will interact with the music? Is it something spatial, or will there be other sorts of interactions? (New Zealander-turned-Berliner Julian Oliver worked extensively with game engines, for instance. One solution for him was modifying the “gun” in those games to be an implement for doing things in the space, turning swords into plowshares after a fact by making the gun produce music rather than kill virtual entities.)
So, now you’ve seen some of the technical demonstration. But Tarik uses his work as an environment in which to make audiovisual performances. Here’s what some actual live playing looks like, in a beautiful, meditative piece called “Eleven”:
In fact, the biggest challenge to me of a piece this awesome is that you want an immersive environment, not just the small, rectangular screens that are often all festivals and venues can afford.
Holodeck, anyone?
More:
Question by : How do you put music from the computer to the Pantech Hotshot?
ok, so i got the pantech hotshot for christmas this year
there’s a music app and i want to use it. i have a 2gb memory card in the phone.
i already have music in my computer, i just want to know how to put that music into my phone?
please help!
Best answer:
Answer by briandwales
plug it into the computer
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