yizzle

dont really think thats great advice. with saying that, Hope you get it all sorted out bud

Ableton today released Live 9.1, an update to its performance-oriented DAW that adds dual-monitor support, new sequencing options, improved audio rendering and more. Here’s what Ableton has to say about Live 9.1: "Live 9.1 is now available for all owners of Live 9 Suite, Standard, Intro and Lite editions – head to your account to download it. This update is free for all owners of Live 9, and provides several significant improvements for users of Live 9 and Push. Live 9.1 introduces support for two windows, including the option to place the windows on different monitors. Want to use the Session View mixer while keeping an eye on the Arrangement? How about using one monitor for tweaking effects parameters and another monitor for editing a MIDI clip? We hope this feature will please those users who told us how keen they are on dual monitor support, and it certainly promises to be a workflow booster for many music-making scenarios. For Push owners, Live 9.1 introduces a brand new melodic step sequencer. Enter notes manually, or play them in, then edit each note in the sequence precisely ? all via the hands-on interface of Push. Plus, you can now edit automation with step-by-step accuracy – maybe open up a filter for single notes, or add a splash of reverb to the last notes of a sequence. Learn more about this new sequencer in the tutorial videos below: Finally, there are a couple of under the hood changes that we’d like to draw your attention to. Live 9.1 includes a new rendering algorithm for better quality audio when exporting from higher to lower sample rates – for instance, going from 96kHz to 44.1kHz. Also, rendering now uses multiple cores, which can result in much faster exports. Ultra high-quality rendering and faster renders – now in Live 9.1." Here’s a demo of the new step sequencer mode: This video looks at step automation in Live 9.1: New in Live 9.1: • Added dual monitor support. • When exporting audio, sample-rate conversion is now done using the high-quality SoX Resampler Library, resulting in higher quality exports when rendering to a lower sample rate. • Live now uses multiple CPU cores when exporting audio and the normalisation process is faster than before. • When exporting audio files from Live with the option “Create Analysis File” enabled, Live will now save warp markers with the .asd file, so that information about the original tempo and tempo changes are correctly reused when re-importing the audio file into Live later on. • The ‘Export Audio / Video’ export dialog has been improved. ~ It shows the same options whether launched from Session or Arrangement View. ~ Some of the export settings have been regrouped to provide a better overview. ~ ‘All Tracks’ has been renamed to ‘Individual Tracks’ in the ‘Rendered Track’ chooser. ~ The export dialog now shows information about the source and target sample rate. • The ‘Open Recent Sets’ menu now has a ‘Clear List’ and ‘Remove Unavailable Sets’ option. • The menu item ‘Close Live Set’ has been renamed to ‘Close Window’. It will now close any secondary window that is open. If no secondary window is open, it does nothing. • The audio buffer size is now restricted to power-of-two values. Windows users should note that not all ASIO drivers support this and may still allow to use non power-of-two values. This can lead to a higher CPU load and higher latencies. Ableton recommends to always use power-of-two buffer sizes, i.e. 64, 128, 256, 512,… samples. • Optimised default presets for Auto Filter, EQ Eight, Saturator, Tension, Simpler, Sampler, Analog, Operator, Electric. • Added 10 new Simpler presets to the Core Library. • Updated manuals, lessons, info texts and translations. • Minor improvements for usage data reporting. • When creating a new track by dragging an instrument to the clip/device drop area, Live would keep the last selected clip stand-by-selected. Now it moves the selection to the clip slot that matches the Session View’s crosshair. You can download Live 9.1 from the Ableton site. Source: synthtopia.com

OP updated with BitTorrent link & the full interview.

Moby has long been a progressive figure in the dance music universe, standing up for causes like veganism, animal rights and net neutrality. Now he’s championing BitTorrent as a means to release music into an ever-evolving digital world, making the stems for his latest album Innocents available for fans to remix without legal restraint as a BitTorrent Bundle. In a recent interview with Mashable, the Grammy-nominated artist adopted a less-than-popular industry stance in saying he believed producers who made the effort to make a remix using his stems deserved to profit from it. “When people try to control content in the digital world, there’s something about that that seems kind of depressing to me,” Moby said. “The most interesting results happen when there is no control. I love the democratic anarchy of the online world.” Moby also discussed the changing face of dance music consumption, defending streaming services like Spotify that have come under criticism by some artists. “Every industry has been impacted by [changes in technology] in both negative and positive ways, but I feel like to complain is pointless,” he said. “I love Thom Yorke, but when I heard him complaining about Spotify, I’m like, ‘You’re just like an old guy yelling at fast trains.’” The Full Interview: Mashable: Tell me about your BitTorrent partnership. Moby: About 5 years ago, I started a website called mobygratis.com, which gives free music to indie filmmakers, film students, non-profit organizations. I really like the idea of putting music out into the world and having no idea what sort of life it's going to have. One of the reasons I now have my own record company is that when I was with EMI, they really wanted to control the way music was released into the world and existed in the world. My approach is to not try and control it at all. I really like the idea of not just giving people finished content. It's giving them something that if they choose to they can manipulate and play with however they want. There's absolutely no restrictions on it and that makes me happy. When people try to control content in the digital world, there’s something about that that seems kind of depressing to me. The most interesting results happen when there is no control. I love the democratic anarchy of the online world. Mashable: Are people really free to do whatever they want? Can they sell their recordings? Moby: I met with the BitTorrent people and they were asking, "What if someone comes up with their own remix and they sell it?" They were wondering what I would want them to do with the money. And my response was that they could take their friends out to dinner or give money to their favorite charity. Even if I make the stems, if they made the effort to make the remix, they should be the ones to profit from it. Mashable: Is your view on this informed by having been around in the early era of piracy? Moby: In the world of culture, it's more interesting to err on the side of openness as opposed to the side of restriction. Imposing restrictions on content seems like a fool's errand. It's incredibly difficult and arbitrary. Mashable: Is there anything you remember the label doing to protect your music from being pirated? Moby: It was about 7 or 8 years ago when I was on EMI, and someone at EMI business affairs contacted my manager and told him that I wasn't allowed to play my own music when I DJ'ed because they didn't want people in the audience pirating it. This was back in the days of the Nokia flip phone. If someone recorded a song in a nightclub it would be the worst sounding recording you could possibly imagine. You probably wouldn't even be able to identify the song. That seemed like nonsense to me. That's when I realized my personal and professional ethos regarding music and the way it exists in the world was so diametrically opposed to the way EMI were perceiving it. Mashable: Do you use services like Spotify personally for consumption? Moby: I do. For me the criteria is convenience. Because I travel quite a lot I still mainly buy music on iTunes. But whether it is Spotify, SoundCloud, or Pandora, I think they're all great. I have gotten involved in lobbying efforts to try and block Congress and the RIAA from penalizing them. Ultimately, I think the more access people have to music, the better. Mashable: Do you feel that they represent a sustainable model for artists? Moby: Artists who are adaptable are doing fine. A musician who makes records, tours, DJs, remixes, does music for video games and films is doing fine. If you can learn how to adapt — it's really weird and unhealthy when people talk about restricting progress to accommodate the inability of people to adapt. Every industry has been impacted by [changes in technology] in both negative and positive ways, but I feel like to complain is pointless. I love Thom Yorke, but when I heard him complaining about Spotify, I'm like, "You're just like an old guy yelling at fast trains." I love anything that enables people to have more music in their lives. Mashable: Do you feel a kinship with what's going on in electronic music right now? Moby: It's a hard question to answer for the simple fact that there's so much going on in the world of electronic music. There's big, tacky top 40 remixes in the world of EDM, and weird electronic Berlin techno, there's ambient music — there's so many different types of music being made essentially with the same software that it's hard for me to generalize. But yeah, I feel a kinship with basically anyone making electronic music. Mashable: How has DJ or producer culture changed? Moby: It's really odd. I played classical music, and then I was in punk bands, and I got into DJ and EDM when I was 20. This was the mid-80s. At this point, DJ culture was so underground. I was a straight white guy DJing in Latino, African American and gay clubs because that's where dance music existed. I had this weird moment — I've been friends with James Murphy and the DFA guys for a while and I went to see one of LCD Soundsystem's shows a few years ago. They were playing the song "Losing My Edge," where he talks about legendary DJs in New York. I had this odd, slightly discomfiting moment because first of all, everything he sings about in the song, I was there. So in the mid-late 80s when I DJ'ed, I was the only white person there. That was completely normal. I loved that dance music was so foreign to the suburban culture I grew up with. I was watching this LCD Soundsystem show with a few thousand people and I looked around, and there's not a single non-white person here. It was one of those moments where it was so odd that dance music has moved so far from gay, black, Latino culture and it's become almost exclusively white affluent suburban culture. I like LCD Soundsystem a lot and it's not a criticism of them or their audience. That's just one way it's changed. The demographics of dance music are so different. Mashable: Is there a geographic center for electronic music or club culture anymore? Moby: One of the beautiful things about electronic dance music is that it's truly international. Whoever has software and a good idea can have success regardless of where they're from. BitTorrent Link: http://bundles.bittorrent.com/moby-innocents/ Source: dancingastronaut.com, mashable.com

Following the success of Avicii‘s bluegrass-infused originals “Wake Me Up” and “Hey Brother,” country artist Big Kenny saw an opportunity. The entrepreneurial singer, who makes up one-half of Big & Rich, plans to combine electronic and country music into a new festival called Electro Shine. Fusing these two genres together, Big Kenny hopes to create a new festival experience for EDM and country fans everywhere. He plans on bringing in two giant circus tents for the venue, fully equipped with lasers, lots of fog and flying acrobats. As for Electro Shine’s lineup, which has yet to be revealed, Big Kenny told Billboard: “Every now and then, like with the Mafia, you never know who’s going to show up… I plan on introducing a bunch of DJs and talent that nobody has seen before.” Source: dancingastronaut.com

Many of you have seen plenty of videos featuring artists and DJs banging away on pads and buttons creating near perfect musical jams virtually from thin air. If you’re like a lot of finger drumming novices, you probably marvel at their incredible skills, but are disappointed when you turn around to have a jam session yourself. Today I’m sharing some secrets on becoming a finger drumming superstar - with just a little daily practice and some good techniques. There are a lot of different schools of thought and approaches to finger drumming, and I don’t think there has to be a definitive “right way” to do it. It’s a bit like martial arts, in that it has many different teachers, styles, and ideologies. You might be wondering: What is Finger Drumming, and is it really worth the effort? First and foremost, it’s insanely fun. The fusion of electronic music’s sonic power with live instrumentation gives me a rush unparalleled by anything else. That aside, it is an incredible tool for composing expressive songs quickly and/or for jamming with your friends. The basic concept is to turn electronic music into a living, breathing instrument and be able to morph and compose your beats on the fly – without having to get lost in the slow translation of programming. MUSIAGO – MAD ZACH’S TECHNIQUE: That said, I have developed a finger drumming technique I call “Musiago” – which is a word I made up. When translated from Madzachish, it means “many branches” – as in finger branches on a wrist trunk. Admittedly, this technique has been developed on and is assisted by the Midi Fighter, which is uniquely armed with tight button spacing and spring-loaded trigger buttons which enable faster, more efficient playing. At the core of the Musiago technique is the concept of finger isolation. You have to start thinking of yourself as 10-armed super drumming soul robot! I use my thumb for the kick, 1st and 2nd fingers for hats, and ring finger for snare. I chose these fingers for their relative dexterity: my thumb is solid, tireless, and funky whereas my first 2 fingers are technical and expressive. And the ring finger holds a nice balance with the thumb, perfect for rocking back and forth. My pinky is pretty useless – I don’t use it that much currently. This method is centered around playing the beat with the right hand so you can layer in bass, one shots, and more with the left. If you are left handed, you might consider inverting my fingerings. WHERE SOUNDS GO: One of the most important things to take into consideration when practicing is making sure you know which sound is where and that your chosen layout format works for your own personal technique and style. FINGER DRUMMING TIPS: • It may help to position yourself somewhat diagonal to your controller. • Instead of moving your arms, focus on holding your wrists still while articulating your fingers in a smooth, effortless manner • Start small: just focus on keeping time with 1 or 2 sounds. It’s okay to stay simple, don’t worry about going fast or crazy at first. • Leave room in your mix, don’t worry about playing every sound at once! Think instead in groups of 2-3 tones. • Use a “build” button to transition between energy intensities within your sound rack. • Experiment with mirroring your two hands rhythmically but using different numbers of buttons in each hand’s pattern. • Don’t be afraid to find “chords” or places where multiple buttons sound great together. Source: djtechtools.com

Pioneer is cracking open an even lower price point than their multi-color DDJ-WeGO launched last year with this new Serato DJ Intro controller that’s designed to look and feel similar to the DDJ-SX and DDJ-SR controllers that have been increasingly popular over the last year. The new DDJ-SB starts out with a MSRP of $299, and sports two large Pioneer jogwheels, 16 performance pads, and basic FX, tempo and mixer controls. From a size perspective, the unit is significantly lighter (at 2.1 kg/4.6 lbs, it’s about half the weight of the DDJ-SR) and smaller in dimensions than the other controllers in the DDJ-S line. Here’s the full hardware featureset: • USB powered • Combo HP/LP filter for each channel. • Hot Cue, Auto Loop, Manual Loop and Sampler modes • Dedicated Serato software FX Control • Single Mic Input (1/4” jack) • Master RCA output • Both 1/4” and 1/8” mini jack headphone outs • High resolution, touch sensitive jog wheels There’s only one new feature on the DDJ-SB that we haven’t seen on any other Pioneer unit before, called “Filter Fade” – similar to the Fader FX of DJTT’s VCI-100 mappings long ago. Pioneer details the Filter Fade feature: "For extremely smooth blending transitions when using the cross-fader, a new “Filter Fade” function can be turned on (via a button in the center of the mixer) even with music that has vastly different styles. The high-pass filter of the left and right decks is linked with the actions of the cross-fader, and the deck’s volume output automatically adjusts while applying the bass filter, resulting in natural sounding mix effect." The DDJ-SB will be out in January 2014 with a suggested price point of $299, including a license for Serato DJ Intro. Source: djtechtools.com

Serato has released a new update to Serato DJ, bringing it up to version 1.5.2. The new version has just a few feature updates to it – scrollable FX dropdown menus and support for the Vestax VCI-100 MKII, Numark Mixdeck Quad, and Pioneer’s brand new DDJ-SB. Concurrently, Serato has launched a new expansion FX pack for the software – demoed in the video above by one of Serato’s own software developers on a NS7 MKII. Dubbed the Chip Pack, the new FX are described as being a “techy, 8-bit extreme audio-bending pack”, and includes: • Spiral Flanger • Pitch Delay • Chiptunes • Short Circuit • Shifter LoFi • Side Delay • Crush Echo • Particle Delay • Noise Sweep • Noise Synth • Spiral Flanger • Pitch Delay • Crush Echo • Particle Delay • Noise Sweep Read additional bug fixes in this release + download the new version on Serato’s release page. Source: djtechtools.com

Mixed in Key stirred up quite a lot of interest when they announced an upcoming DJ software based around energy detection + cue jumping last month. Today the new software, dubbed Flow, is exiting the private beta and launching a 1.0 release to the public. While buying the software outright will cost $58, there’s a demo available that allows use of all of the features in Flow, with the only limitation being a 150 song cap on importing + analyzing tracks into the software’s library. The “Pro” version allows unlimited imports and analyzing. Download the free demo here on the official Flow website. Since the launch of the beta, Yakov and the MiK team have added looping and cleaned up all of the bugs and issues we encountered. There’s still numerous items on the roadmap, including effects, which aren’t present in this release. Finally, you can watch their video overview of the software’s workflow below: Source: djtechtools.com

Steinberg has introduced Cubase iC Air – a free system that brings gestural control to Cubase. Cubase iC Air works with the Leap Motion controller or depth cameras developed using the Intel perceptual technology SDK 2013. It gives you the ability to control Cubase 7 and Cubase Artist 7 with the movement of your hands: adjust faders and EQ, navigate through arrangements, use transport controls. You can use pre-defined gesture commands for transport control, navigation and more. You can also control virtually any parameter through Advanced Integration. Steinberg’s support of gestural control in Cubase shows that this technology is ready for mainstream use. But it also raises the question of whether this is really useful to mainstream users. Source: synthtopia.com

E-licktronic has introduced a DIY clone of the Roland TR-808 Rhythm Composer, the YOCTO. According to E-licktronic, the YOCTO is an exact reproduction of the analog part of the TR – 808 (with the exception of the BA662 VCA Clap has been replaced by a BA6110). The classic analog drum synth sound engine is paired with a MIDI sequencer that lets you store up to 256 patterns, organized into 16 banks of 16 patterns in a Non-volatile EEPROM. Looks interesting – but does it sound like an 808? https://soundcloud.com/e-licktronic/sets/yocto-tr-808-clone-sample Features: • The ergonomics of YOCTO follows that of the TR-808 with 16 edits buttons, two rotary switches for instruments and modes. • 11 drums 100% analog cloned the TR-808 • A common Accent for all drums • 16 banks of 16 patterns from 1 to 32 steps • 16 songs of 256 patterns • 11 separates OUT, one for each drum • A Mono Master OUT • 2 Trigs Output that allow you to trig a external instrument (a third one is in option on the board) • Midi IN, OUT, THRU • Din sync24 IN/OUT to synchronize other machines with same standard The kit includes everything you need to build YOCTO (Two PCBs, resistors, capacitors, connectors, transistors, ICs, buttons, LEDs, screws …) except the wall wart power transformer & case. The YOCTO is a large project and is recommended for more advanced DIYers. It’s available via the e-licktronic site for 379 Euro. Video demo: Source: CMD, synthtopia.com

the new Silk Road

could also belong in funny thread

Looking for someone to rave with? EDM-Date is – wait for it – an EDM dating service, promising to help match ravers up with the ‘party kids’. Features of the site include the the ‘ability to edit your profile’ and ‘add images to your profile’. Other features include the ability to browse other member profiles! They do actually have a feature that’s related to music – members can upload mixes to share with other members. Source: synthtopia.com

who?

im wearing my limited ed. t right now

sigh... gets down on knees.

LOL!

but there will be no general crowd to draw in. "The event will be attended mostly by media from a range of industries – music, technology, sport, lifestyle.." so i still think its about showing of the range the speakers can give out. also tbh, i think if they wanted someone to pump out some classics and BBQ stuff they would of looked for more of a DJ than a young producer on Triple J.

if they found him on triple J unearthed and contacted him, i dont think they are looking for BBQ anthems. imo. prob more electro stuff that has a wide range of sounds that can 'show off' what the Klipsch speakers can do and stand out from others. I think eggs list is a good start.

Unless you live under a rock, you are sure to have heard by now that Hardwell claimed the number 1 spot in DJ Mag‘s fan-generated Top 100 DJs. In accordance with the number 1 title, Hardwell was featured on the cover of the current issue of DJ Mag, which included an interview. In the interview, Hardwell discusses his relationship with his hometown friend Tijs, better known as Tiesto, who acted as a mentor for Hardwell in his earlier years. The Dutch DJ also reflects on his numerous shows and gigs in his home country before ever making it internationally, and explains why his European roots makes him uncomfortable to use the term ‘EDM’. One of the more controversial subjects that Hardwell confronts in his interview is the escalating price of booking DJs. When asked if this price increase is going too far, Hardwell answers adamantly ‘no’. “People always say ‘DJs are the new pop stars’ but when Rihanna, Jay-Z or Lady Gaga is selling out an arena and get a ridiculous amount of money, everyone is handling that okay. If a DJ like Tiësto or Calvin Harris does it, everybody is like, ‘Wow, can they take that amount of money?’ But they are doing the same thing.” In 2013, Calvin Harris earned a different number 1 spot than Hardwell, his being the number one ‘Electronic Cash King’ according to Forbes, who bases its study on “earnings estimates [which] include income from live shows, endorsements, merchandise sales, recorded music sales, external business ventures and [...] television”. By the day, DJs are becoming more like superstars, and artists such as Hardwell support the rising costs of booking these megastars. Hopefully the smaller venues and fans are financially able to keep up if the future of EDM keeps heading in this direction. Source: youredm.com

Korg & electronic gadget kit company littleBits have announced a modular Synth Kit that’s designed to let you do music DIY using prebuilt modules. Here’s what they have to say about it: "LittleBits and Korg have taken a traditional analog synthesizer and converted into littleBits modules, making it super easy for novices and experts alike to expand creativity into the world of sound and music. With the Synth Kit, YOU become the star of the show!" LittleBits already makes “an open source library of electronic modules that snap together with magnets for prototyping, learning and fun”. Existing modules include things like motors, buzzers, buttons, light sensors, switches and LEDs. The Synth Kit introduces new modules that expand the platform into audio. Here’s an unofficial demo: The kit offers a variety of synth modules: • Power • Oscillator • Random • Keyboard • Micro Sequencer • Envelope • Filter (MS-20 style) • Delay • Mix • Split • Synth Speaker Accessories: • battery + cable •35+ pg. booklet LittleBits Audio Demo: https://soundcloud.com/littlebits-electronics/sequence-with-beat/s-87llZ LittleBits Synth Kit Q&A: Q: Can the littleBits Synth Kit be expanded by buying additional oscillators or other modules? A: Yes. Individual modules from the Synth Kit will be available January 2014. Q: Does the Synth Kit work with the full family of existing modules? A: Yes. The Synth Kit is compatible with their other modules, including the Pressure Sensor, the Light Kit and the Deluxe Kit. Q: Can you tell us more about the open source aspect of the littleBits platform? Is it possible to create custom modules that are compatible with the littleBits Synth Kit? A: All modules have schematic and PCB files available in Eagle CAD. Users can create their own module, but the connectors will not be available individually until 2014. “A prototyping module will hopefully be available in the coming months,” notes Rothman. “We are in the process of creating guidelines for those who want to develop for the littleBits system.” Q: Can you tell us anything about the circuits that the Synth Kit is based on? A: The filter module is based on the later MS-20 circuit and the delay module uses the same echo processor used in the Monotron Delay. Q: Are these modules electrically compatible with other analog synthesizers? For example, could one patch this to an existing synthesizer or modular synthesizer? A: The voltage levels are different, so adapters need to be used. “LittleBits runs on a 0-5V power system,” notes Rothman. “For the launch concert we put on, Nullsleep performed with his Cirklon that he usually uses with his Eurorack modular. We made some adapter boards to divide down the voltage for him, for this purpose. We’ll be putting out a proper module for this some time in the future.” Pricing and Availability: The littleBits Synth Kit is priced at $159. It’s available for pre-order now and is expected to start shipping Dec 6th. See the LittleBits site for details. Source: littlebits.cc, synthtopia.com

Mutable Instruments has announced the availability of CVpal – a new 2-channel USB->CV/Gate interface DIY kit: Here’s what they have to say about CVpal: "We dreamt of a really simple DIY kit – so simple that it would allow beginners to enter the world of DIY with a big smile – and yet, interesting enough to be useful in any kind of Eurorack setup. That’s how the CVpal was born! The kit contains only 25 parts to solder; but is an incredibly useful tool, allowing you to connect your computer or iPad/iPhone (with camera connection kit) to your modular system or (neo-)vintage analog equipment. The CVpal features a large palette of control modes: monophonic with velocity and extra square oscillator, monophonic with clock outputs, duophonic, dual monophonic, or even quad trigger conversion! Its 12-bit DAC with an 8-point software calibration curve makes it more accurate than more expensive products." A simple stand-alone case is also available for the CVpal, making it useful outside of the modular, with a stompbox or a desktop analog synth, for example. Here’s a video demo of CVpal in action: CVpal is available as a kit, priced starting at 49.00 Euro. Source: synthtopia.com

oh...

ino