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For the Record: Mobile Platforms, Music, and Partisanship

Saturday, June 12th, 2010

This is a New York City-produced set of haikus, so it’s accompanied by Brooklyn cherry blossoms. Photo (CC-BY-SA) Taís Melillo.

It occurs to me that I tend to write long articles, and people don’t always read them closely. And sometimes I do indeed obscure my own ideas, so I’ll make this as clear as possible.

James Lewin on Synthtopia responds to criticism of the iPhone, and differentiates his angle from my own. It’s well worth reading, and clarifies his thoughts, but there still seems to be some confusion about where I stand.

I can spell it out. I’m really not a fanboy of … uh, whatever I’m supposed to be a fanboy of. (Did someone say Windows? Oh, yeah. I can never get enough of Windows. You totally got me.) I’m not interested in taking sides. I choose technologies, and then I yell at them until they do my bidding or I get tired. Some of this yelling can’t be reproduced on CDM. It’d be a bit boring, and it wouldn’t be terribly family friendly.

On some issues – openness, standards, interoperability, free software, and expressive audio capabilities and performance – I make no excuses. I’m not neutral. I believe in these things. As for platforms, the iPhone right now is the superior mobile device, in terms of audio performance. Linux-based platforms, including Android, are better in terms of openness. I want both, but I can’t have both, at the moment. Happily, mobile phones are also not the entire universe. Hardware, conventional computers, game systems, custom electronics, and yes, acoustic instruments and voices and paper … we have lots of means of creating digital music. As writers, we simply put out ideas in the marketplace of ideas. But in the midst of partisanship and me writing so darned many words, maybe some folks lost the plot.

So, to be clear, let me reduce the number of words, and respond in haiku:

iPhone is made well /
Touch and audio work, yes /
Smule making money.

Apple are genius /
Also infuriating /
Lawyers make me sad

Android is open /
Audio drivers are poor /
Latency, jitter

Yay, ‘droid SDK /
Handset makers, please improve. /
Make better drivers

Phones are not PCs /
Verizon cancellation /
Credit card saddens

A synth makes a noise /
Oscillators, delicious /
We still love hardware

Readers become mad /
Shout, “no more iPhone stories!” /
Don’t feed the troll, please

So many platforms /
Create Digital Music /
Please some perspective

(Insert snaps here.)

Go here to read the rest:
For the Record: Mobile Platforms, Music, and Partisanship

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DIY Music Tech Community Round-up; Reflecting on the State of Music DIY?

Wednesday, February 10th, 2010

The elegant patterns of a circuit board, as photographed by / (CC-BY)

Last week, what was intended to be a day of posts wound up being several days of updates on events centered around music technology and DIY creation. Here’s a birds-eye view of what we covered, some of the events you can catch in person, and some of what these events reveal.

It’s worthwhile just putting these posts in one spot so you can easily mark your calendar – and you can see, even in this small slice, the amount and breadth of activity happening now.

At STEIM in Amsterdam, I’ll be talking about the state of DIY and open source technology for musicians and artists, and what that means for creative people — both the potential and some of the challenges. So I’d be curious to hear your thoughts before I begin waxing poetic. Readers here aren’t shy, so let us know your concerns in comments.

Now, here’s your guide and calendar to DIY. Tell us what we’ve missed. I’m hoping to devote a permanent spot on Noisepages to an events calendar; anyone with slick WordPress/BuddyPress-based solutions, give us a shout.

The best new inventions.

Don’t miss web-savvy hacks and creations from the music hackday, including an all-JavaScript clone of a popular Nintendo handheld music tool, online Web tools that make musician’s lives easier, and fantastic combinations of Android phones, web listening tools, online data, and physical objects. Meanwhile, if you want to start your own project but don’t know where to begin, Austin is a hotbed of new DIY kits.

February 17. Amsterdam, NL. (event)

Handmade Music kicks off in Amsterdam at the STEIM research center. The action starts at 8p. I’m making a stop there on my way to Stockholm, and hope to provide documentation next week for the rest of the world. Details.

February 19. Toronto, Canada. (event)

Handmade Music hits Toronto.

What they teach us: Why is it a “great time to make electronic music?” Toronto’s organizers point to the fact that makers are spoiler for choice of platform, with monome and Arduino on the hardware side, and ever-more-mature Max/MSP and Pure Data on the software side.

February 28. Austin, Texas USA. (event)

Austin shares all their latest musical inventions, plus resources for those wanting to work on making noises with the Arduino.

What they teach us: beginners can get in on these events, with the aid of newbie-friendly workshops and easygoing, noise-making parties. Oh yeah, and the advanced folks can create terrific, usable music hardware.

March 8. Brooklyn, NY USA.

Handmade Music starts a new series at Galapagos Art Space, between the Brooklyn and Manhattan Bridges. Details.

February 14, April 3, May 28. Porto, Portugal + worldwide. (call for works)

Digitopia seeks the best Max+Pd patches, dream ideas for musical inventions, and miniature music. I’ll be there in June 2010.

What they teach us: the twist here is making an open source hardware controller the prize, and sharing the how-to with the world. Plus, all the competition entries are required to be open source, meaning the competition itself generates tools for the community.

March 1 deadline; March 12 event. San Francisco + Worldwide.

One-button Game Objects challenges designers to make self-contained sonic and visual interactive art — all using just one button. If you can ship it to San Francisco, we can show it. And in March, we’ll be looking at other ways that just one button can make a musical interface. Call for works info.

Read more here:
DIY Music Tech Community Round-up; Reflecting on the State of Music DIY?

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We’re looking for guest writers!

Tuesday, February 9th, 2010

(photo CC: matsuyuki)

Do you enjoy writing about music technology, hardware/software/analog/digital/techniques, etc? AudioNewsRoom is looking for guest writers.

I’ll be fair, this is an unpaid position (anr is basically a no-profit thing, at least until now), but, if you’re still reading, you could have lots of fun trying out the latest gear, plug-ins, and sharing your thoughts with our readers.
Also, you’d increase your online exposure, and gain some links back to your personal/business website.
Short term, long term? No problems, it’s up to you.

If you know your stuff (needless to say, original content only) and enjoy sharing your knowledge, please get in touch using our contact page.

Thanks!

Link:
We’re looking for guest writers!

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Beat Thang Drum Machine: Hands-on Tour with Creators, Rockwilder

Sunday, January 24th, 2010

Beat Kangz, the upstart drum machine maker out of Nashville, has been cooking up a new device for some time. That creation, the Beat Thang, is finally nearing production. It may not have a nameplate like Akai or Roland, but I can testify that this independently-designed gadget may nonetheless be one to watch. The hardware feels fantastic, appears to have the right pieces falling into place, and promises release soon. The founding team behind it blends backgrounds in areas ranging from hip-hop to computer science, and even production legend Bob Ezrin (that’ll be the Pink Floyd: The Wall Bob Ezrin). I got a look at the hardware in a private meeting at a hotel in Anaheim last week.

But even those aren’t the reasons you should check out the Beat Kangz. Why was this a highlight of my NAMM trip, even when it wasn’t actually at NAMM?

  • It’s made out of ionized zinc.
  • It has buttons for “freak,” “bang,” and “blang.”
  • No ports get left off.
  • It lights up like something Tron would install in your car if he were hosting “Pimp My Ride.” (Look out, ENCOM.)

Sure, we’ll have more substantive, practical matters to consider once this thing actually ships, but at least it’s something interesting in music tech news.

More information, plus details on the virtual/software version that’s available now. (Not in the video, but also mentioned: they’ve got a simple iPhone app now, which should eventually allow you to play back loops you’ve created in the software.)
http://www.beatkangz.com/

Rockwilder, a producer who’s worked with everyone from Aguilera to Xzibit, just happened to be hanging out in the hotel room banging away on the virtual edition on his Macbook Pro. He also shares his thoughts. The gentlemen of Beat Kangz say Rockwilder will be using their creation on an upcoming Method Man production.

Best of all, before I left, we got some trash talking going. It’s on, Akai and Roland. (Incidentally, it really is true that drum machines were noticeably invisible on the floor.) At the risk of starting a war, I’ve included that full footage at the end of the Rockwilder video.

Note to manufacturers: this is how I’d like you all to start talking. Roland, you think your drum triggers can kick Yamaha’s sorry a**? Let’s hear it. I mean, diplomacy is good and all, but we do risk putting people to sleep.

Product tour at top, Rockwilder and a slap at the competition at bottom.

Read this article:
Beat Thang Drum Machine: Hands-on Tour with Creators, Rockwilder

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Novation Launchpad 3/3: our review

Tuesday, January 19th, 2010

Third and final part of our Novation Launchpad special: in the first two articles we asked a hacker (Matt di Fonzo) and an artist (Madeleine Bloom) to share their thoughts on this new (and already popular) device.
In the meantime we had the chance of spending some quality time with it, and here’s our Launchpad review…

Possible scenarios

Launchpad + Live

As said in our Sonic Joy Awards 2009, the Launchpad it’s a perfect match for Ableton Live. It works, and it makes the whole Live experience much better (especially if you’ve only used mouse+keyboard ’til now).
Setting up the Launchpad in Live is foolproof, and the 4 pages Getting Started printed document is basically all you need to know to start playing with it.
The controller comes with a special (free) Live Launchpad edition on CD, but if you have a license for Live 7 (yes, you can use that one too) or 8, you’ll just need to install the device drivers.

The Session Mode is where you’ll probably spend more time, it lets you launch clips or entire scenes without having to look at the screen. You can easily move through your session with the pages buttons, and the focus on the screen (and the pads on the Launchpad) change accordingly.
Simply brilliant. It really feels like a natural extension of Live.

The User 1 mode lets you play the Launchpad pads as you would on a normal pad controller. It can be used to trigger some virtual instrument (like the Drum Racks, or a third-party one) or to assign the pads to any MIDI parameter.
Just keep in mind that playing beats in real-time is not the Launchpad’s main purpose, the pads’ action is not made for that (too “long” and a bit hard), and you’ll get much better results with a proper pad controller (going from the cheap AKAI LPD8 to to more expensive ones).

The Mixer Mode is a little bit trickier (but after awhile you’ll get used to it). It lets you use the Launchpad to tweak (or activate) tracks’ parameters like Volume, Pan, Sends A and B, Solo, Stop, Track Activator, Track Arm.
Since the Launchpad is all about pads don’t expect smooth volume changes, like you would get with a fader.
The other Mixer Mode functions can be useful at times, especially if the Launchpad is your only external controller.

Launchpad + Live & M4L

If you got Live 8 and the MaxforLive extension, the Launchpad can be used to work to control M4L patches (some are already out, many more are coming, there’s a lot of work going on in the M4L community at the moment – and you can build your own patches, of course).
Check also Novation’s beta version of its M4L Step Sequencer (downloadable for free here). It’s a monophonic, simple but well conceived sequencer. Just couple it with an organ, choose an appropriate scale, and you’ll feel like Terry Riley!

Launchpad + Live & MaxforLive + monome M4L apps

Since a few weeks there’s a new M4l patch/hack that lets you use your Launchpad as a monome emulator inside Live/MaxforLive. It’s called monomeemu (downloadable here) and supports all the apps that have been developed by the monome community.
Just drop it on a Live’s MIDI track (just once, even if you’re going to use several monome apps they will just need one monomeemu istance), then drop the monome app you need, add your virtual instrument of choice and you’re done.
All this inside a Live channel, without complicated routing or such things.

I’ve tested a few of Stretta’s apps (those recently ported to MaxforLive, downloadable here) and they seem to work fine. I say “seem” because my test in this case was not so extensive as it would need.
Sometimes, especially when running more monome apps at the same time, the Launchpad seems to be a bit laggy. This is probably due to the fact the emulation involves a OSC to MIDI conversion (monome is OSC compatible, while the Launchpad is only using MIDI).
Considering monomeemu is still young (0.93 release), I have good expectations about this project for the next weeks/months.
That said, we’re talking of some advanced features here, so you’d better have some patience and a well performing audio+computer setup.

Launchpad + nonome + monome apps

Until a few weeks ago nonome (read also our interview with its developer) was the only hack that could let you use a Launchpad with monome apps. The whole thing is still valid (nonome can be found here), and, if you are not a M4L user, it’s still the only way to go.
You need to get the free Max runtime (downloadable from this page), and some monome app, like those mentioned.
Then it’s up to you: as sound generator you can use a standalone virtual instrument, or some hardware synth/module/drum machine connected via MIDI.
This setup is a bit more complicated (and could involve a higher latency) than the one mentioned earlier. It would be almost impossible to list here all the possible variables. Please ask for help on the above mentioned nonome forum thread.

Launchpad + Logic (or other DAWs)

The Launchpad it’s a MIDI controller, and as such can be used with other DAWs like Logic, Cubase, etc.
I’ve used it to create some beats with NI Battery in Logic, for example. It’s quite easy, you’ll just need to check the MIDI notes messages sent by the Launchpad and change the values on your virtual instrument pads.
On Novation’s website there’s a useful document with all the MIDI specs of the device, but it seems there are a few mistakes regarding the MIDI Notes output.
Here’s the correct layout, as seen by Logic (and I guess other DAWs too)…

The Launchpad can also make use of Novation’s Automap software. You’ll find the installer on the CD. Actually I think other Novation controller (filled with knobs, faders, etc.) do a much better job in that regard, so I decided to skip this step.

Launchpad + nonome + Logic (or other DAWs)

If you feel brave, you can also try setting up Logic with nonome and a monome app (I’ve used Stretta’s Polygome for this example). As said, you’ll need the free Max runtime to use nonome (the link for both is a few lines above).
Here’s a couple of screenshot of the setting I’ve used in Logic and in the monome Max patch (you’ll need to activate a IAC bus in your Mac’s Audio MIDI Setup panel first)…

CONCLUSIONS

The Launchpad, at 200$/180€, is a cool grid-based controller, perfectly integrated with Live. It can also be used to run monome apps, and I’d recommend getting MaxforLive to make the most out of it.

If you’re looking for an inexpensive, well-designed controller, that can let you “touch” your music while performing/composing, get a Launchpad. I’m sure you won’t regret it.

Product’s page

PROS:

  • compact, light, multicolour, USB powered
  • works great with Live and M4L
  • can be hacked to use monome apps
  • it’s cheap but well built

LOVE-IT OR HATE-IT:

  • nice grid-based controller, but if you really need a monome, buy a monome

CONS:

  • the action of the pads could be improved
  • the USB cable could be longer

Continued here:
Novation Launchpad 3/3: our review

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Short links for October 22nd, 2009

Thursday, October 22nd, 2009

Some interesting things I found recently:

Percussa AudioCubes workshop

# Audio Cubes: Tangible Interface for Audiovisual Creation, a Percussa workshop

AudioCubes designer Bert Schiettecatte will be hosting a series of one day workshops at his private workspace, for a select number of artists, starting November 10th 2009.

Workshop description: Starting with some theory, you will discover the history of AudioCubes, tangible interfaces, and their applications. The practical part of the workshop will let you master the technical aspects of using AudioCubes in sound, music and visual creation, and let you work on your own project using AudioCubes.

Topics covered:

  • history of audiocubes
  • overview of tangible interfaces
  • why were audiocubes created / fundamental ideas
  • how audiocubes work
  • the audiocubes hardware
  • audiocubes software for live performance, sound design and music production
  • how to use audiocubes to control MIDI software and hardware
  • how to MIDI map audiocubes
  • how to use AudioCubes with Max/MSP

# Google Prepares Music Search Service

From Wired.com:

Google plans to launch a music service, Wired.com has confirmed with sources familiar with the situation. Next to nothing is known about the service at this point, rumored to be called “Google Music,” “Google Audio,” or “One Box,” although we have confirmed that it will be announced next Wednesday, and that it will link out to two music services: Lala and iLike.

# Plogue Chipsounds review – retrogaming nostalgia

Torley takes a look at Plogue Chipsounds.

Tom Shear @ Waveformless shares his thoughts in his Chipsounds review

What excites me most about Chipsounds is the possibilities for the future. I’d love to see a couple options that weren’t present in the original machine introduced here. A filter section would definitely expand the possibilities (a handful of chips have filters available as their chip-specific settings), a more useful and flexible Portamento function would be great, and, as mentioned before, a wider array of effects would be a nice addition. That said, imposing the limitations of the original chips is not a bad thing in my opinion. It encourages the same kind of creative thinking and workarounds the original programmers used to use back in the day to get sounds you wouldn’t expect to be possible with such limited means. Plogue has approached this softsynth with a palpable sense of reverence and their affection for these outdated sound makers shines through in abundance. An exceptionally fun and unique instrument! [8/10]

# 2009 Roland Keyz ’n Beats Summit

The 2009 Roland Keyz ’n Beats Summit will be taking place in Hollywood, CA at the famous Musicians Institute on Saturday, October 24, 2009.

Space is limited, so pre-register now! Plus, you’ll be entered into a drawing to win a new JUNO-Di Synthesizer or SP-404SX Linear Wave Sampler. (Note: You must be present to win your prize.)

DIY Flux Capacitor Expander

# Veqtor’s corner: DIY Flux Capacitor Expander

Göran Sandström writes:

This demonstration uses my crude DIY flux capacitor for the Livewire AFG, basically 5 switches and 10 jacks corresponding to the flux cap pins. Two pin pairs are attenuated by two VCA's controlled by the makenoise/wiard wogglebug, crosspatched with the malekko/wiard noisering, which drives the melodic noodling, via a A-189-1 used as a bitcrusher, to perform cheap quantizing.

The sine output is sent to an input of a makenoise QMMG, driven by the A-143-1 envelope. About halfways through, a feedback path from the animated pulses, animated by A-143-1 LFOs, into the A-106-6 xpander filter (wogglebug controlled) goes into one of the pins on the flux cap expander, resulting in strange noises and unpredictable overtones.

# $10 Arduino Beatbox (remake of the $5 Picaxe Beatbox)

This is a simple sequencer machine which uses Capacitative Sensing Code for input to the Arduino. It is is a combination drumpad and sequencer. It has just two modes, record, and playback, and needs very few components; an Arduino (of course), and just 3 resistors and a piezo speaker. If you're feeling decadent, you can add an LED (with a resistor) for more “ooomph”.

Seeed Studio DSO Nano

# Seeed Studio DSO Nano, Pocket Digital Storage Oscilloscope – Review

Blair Thompson reviews the Seeed Studio DSO Nano:

For those starting out in electronics as a hobby there are some tools that are required for the job. To begin with, a soldering iron, some screw drivers, perhaps tweezers and of course a multi-meter are probably what you would consider essential.

After a while though, you are going to be looking for more. Amongst the other goodies out there to help you on your way are oscilloscopes. In the past, advice on forums has always tended more towards purchasing a second hand scope. These tend to be had for around

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Kids Making Music: Interactive Music Box Draws Experience from Games

Tuesday, September 1st, 2009

Ten minutes. Four or five kids (or adults). Make a song. Go.

That’s the idea behind the Youth Music Box, developed by Silent Studios and Chris O’Shea. (Our friend Chris you may recall from various interactive projects and the blog pixelsumo; he sends this project our way.) The software is build in openFrameworks, the C++-based creative coding environment for artists.

With keys, drums, and yes, even a scratching DJ-style interface, the music box brings together kids for quick music making, inspired by the phenomenon of musical games. The experience is guided by genre, with some effort to make sure whatever they do sounds good, but it’s extraordinary how effective it is at conveying the experience of the successful jam. It’s a bit of a confidence builder, in other words, for a group musical experience, perhaps more so than those ear-splitting, cheap plastic recorder consorts I recall from my youth.

And oh yeah, those kids look super cute once they get rocking out. (See video below.)

Youth Music Box Experience from Silent Studios | Resonate on Vimeo.

All of this raises some fascinating questions, and not always with the answers you might expect. In a normal musical ensemble, you begin sounding like crap, amp up difficulty, and eventually sound something like this – at least as far as coherence goes, assuming you’re not aiming for experimental free jazz. But with the addition of technology, whether musical games or the presets on our favorite synths or the quantization and beat-synced loops of our sequencers, it goes something in reverse. You start out sounding like this, pull apart the mechanisms that make you sound a certain way, and eventually find your way to your own personal approach. (And at some point, you get some of the readers on this site, writing code to produce their own sounds and musical structures line by line.) In fact, one could imagine scaling difficulty of even this particular setup, gradually adding greater musical freedom and taking away the “training wheels” of all the rules-based restrictions that make the results sound a particular way.

Skeptical about the connection of music-based games and actual music making? Think again – even as music education unravels worldwide, games are actually encouraging real music. That revelation was the impetus of the music box project:

Research commissioned by Youth Music found that up to 2.5 million young people in the UK – or 1 million aged between 12 and 18 – have been inspired to progress into ‘real’ music-making because they have played music-based console games.

You got it – they hit those plastic buttons, got inspired, got bored, then decided to go to the real thing. And otherwise, they might have remained passive musical consumers: the game was a gateway drug. Of course, that means that any such interactive experience has to stand up to polished Guitar Hero and Rock Band-style games. But anyone who believes the music games genre has peaked and is on its way out may be dead wrong on many, many levels. On the contrary, this may only be getting started – and the real growth could come in music beyond the realm of games, as people graduate to the unlimited set of possible music experiences.

Chris sends lots more documentation of this project, if you’d like to learn more:

by silent studios and me for uk charity youth music to get kids turned on to music
http://www.vimeo.com/6210259

watch some bbc coverage here
http://news.bbc.co.uk/cbbcnews/hi/newsid_8160000/newsid_8168800/8168881.stm
http://news.bbc.co.uk/1/hi/technology/8154449.stm

Ed.: The video at top doesn’t play outside the UK, because we don’t pay BBC license fees. What, all those Doctor Who videos I bought in the 80s and 90s didn’t make up for it?

here is a press release from roland. the box is ‘powered by roland’
http://www.audioprointernational.com/news/1329/Roland-unveils-Music-Box-for-Youth-Music

some launch pics
http://www.flickr.com/photos/pixelsumo/sets/72157621466657993/

making of pics
http://www.flickr.com/photos/pixelsumo/sets/72157621404410234/

this goes into some of the ideas and details about the musical kit
http://musicispower.youthmusic.org.uk/blog/24/youthmusicboxlaunchesatlondonssouthbankcentre/

on the website there is a very simplified flash version you can try out on a mini timeline, just click play online :)

its quite funny to read these comments on it
http://www.hypebot.com/hypebot/2009/07/youth-music-box-democratizes-music-creation.html

And yes, you can try this yourself and play online! The official site:

http://musicispower.youthmusic.org.uk/youth_music_box/

The production company:

http://www.silentstudios.co.uk/

And Chris’ own site:

http://www.chrisoshea.org/

Roland is involved, and donated an E-09 Interactive Music Arranger to give kids some toys to explore.

And yes, I did notice a certain kindred spirit in the form of Moldover’s Octamasher. The underlying technology and its results are different, but to me what’s most interesting isn’t the superficial similarity of these projects, but the fact that they array the instruments in a circle. Computer production often simply orients a single person to a screen – not so ideal for collaboration. And even Rock Band and Guitar Hero, like an onstage band, line up artists for a (now nonexitent) audience. Perhaps the circle is about to make a comeback as music restores its social aspect.

Curious to hear other thoughts on these projects as they evolve.

Originally posted here:
Kids Making Music: Interactive Music Box Draws Experience from Games

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Just Blaze talks Jay- Z, Producers Lying about getting Paid, Gospel Music, & his Rap Career!

Wednesday, August 26th, 2009

Just Blaze gives a candid interview with Ms. Drama about the recession, his thoughts on producers lying about getting paid, his ideas on “followers” and the difference between producers and beat-makers. He also goes in about working on Gospel music, his beginnings as a DJ and beat maker and why he’s not equipped to be a rapper. Plus his thoughts on working with Jay-Z and a cameo from Saigon.

Make sure you check out Just Blaze’s 5 Track Commandments.

Here is the original post:
Just Blaze talks Jay- Z, Producers Lying about getting Paid, Gospel Music, & his Rap Career!

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DJ Premier On Slaughterhouse, Gang Starr, Real Hip-Hop

Sunday, August 16th, 2009

DJ Premier talks about the recording of Slauhterhouse, offers some quick comments on a possible future Gang Starr release, and gives his thoughts on real hip-hop.

Read more:
DJ Premier On Slaughterhouse, Gang Starr, Real Hip-Hop

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