Cupe

Just checked this after a while of being AFK 2200+ plays and still in the first month. ps. having epic de ja vu writing this post where I am right now. Creepy shit. pps. Glitch in the matrix

Hey dude welcome

Mixmag published a video that focused on a special effects designer Tony Gardner, who had created Daft Punk’s signature robot helmets. Watch as Tony explains how Daft Punk wanted to remove their identities and to really just focus on the music being created.

Done.

Why does it matter that it's not continuing production? The current version works just fine and will continue forevermore. It ain't broke and doesn't need fixing imo

Moved to beginners

Who wants to xmas up the banner?

Back in 2012, Skrillex “took over” Los Angeles and New York City, holding a number of shows in different locales that had special, unannounced guests that were all curated by Skrillex. In 2014, he’s expanding his takeovers to four cities: San Francisco, Brooklyn, Amsterdam, and Barcelona, and he’s got a serious line-up going down. San Francisco sees a full week of takeovers, with A$AP Rocky, Seven Lions, Jack Beats, Alvin Risk, Louisahhh!!!, DJ Craze, UZ, David Heartbreak, Etnik, Samo Sound Boy, GTA, and TOKiMONSTA being the artists currently named for these shows. Brooklyn will have Just Blaze, Lunice, Shift K3Y, AC Slater, Bro Safari, Clockwork, and TOKiMONSTA coming along. Amsterdam finds Skrillex bringing Jack Beats, Bro Safari, UZ, Icarus, and TC, with Noisia (and friends) at the Groningen date, while Benga, Alvin Risk, and KOAN Sound are on the books for Barcelona. Tickets go on sale December 6 to the general public, although if you’re an American Express card holder, you can cop tickets from now until December 5 at 10PM EST via skrillex.com/takeovers. We highly recommend you make your plans around these events NOW, as this will be amazing. Source: doandroidsdance.com

Fifteen rising music artists have been named on the longlist for the BBC Sound of 2014, which showcases some of the brightest new acts for the year ahead. The list was compiled using tips from 170 tastemakers, who each named their favourite three emerging artists. Californian trio Haim came out on top last year, with Adele, Ellie Goulding and Jessie J also among past winners. This year's crop includes singers Sam Smith and Ella Eyre, who have both already featured on number one singles. Smith, 21, from Cambridgeshire, lent his bittersweet soul voice to Naughty Boy's La La La, which topped the charts in June, as well as Disclosure's track Latch. Brit School graduate Eyre, meanwhile, was a guest vocalist on Rudimental's hit Waiting All Night in April and has sung with Tinie Tempah and Bastille. While those two already have a foothold on fame, the Sound of 2014 list also includes artists like Jungle, a mysterious West London electro-funk duo who have created an online buzz but have not yet revealed their identities. The longlist will be narrowed down to a top five in the week of 6 January, with the winner to be named on 10 January. The list is made up of seven solo male artists, five solo females and three duos. Bands are out of fashion. One of the duos, Brighton's riff-heavy Royal Blood are the sole representatives of rock music. They have been likened to the White Stripes and Queens of the Stone Age and will support the Arctic Monkeys next summer. Chicago's Chance The Rapper, who was named 2013's Hot MC by Rolling Stone magazine, is flying the flag for hip-hop. The 20-year-old - real name Chancelor Bennett - appeared as a guest vocalist on James Blake's Mercury Prize-winning album Overgrown. BBC Radio 1 head of music George Ergatoudis said: "The most competitive area next year is going to be male singer-songwriters." There are three such singer-strummers in contention for Sound of 2014. Nick Mulvey is a former member of Mercury-nominated jazz combo Portico Quartet and an aficionado of Cuban and African music. Now solo, the 26-year-old is signed to Communion Records, owned by Mumford and Sons' Ben Lovett. The sound of Luke Sital-Singh, from Surrey, ranges from rousing Mumfords-style choruses to the simple songcraft of Damien Rice. The gruff voice of Bristol's 19-year-old George Ezra, meanwhile, makes his folk-blues ballads particularly distinctive. Of the other solo males, Uzoechi Osisioma Emenike (known as MNEK), from London, is moving in front of the microphone after making his name writing songs including Duke Dumont and A*M*E*'s club anthem Need U (100%). And with a mellow soul voice that has already been heard on records by SBTRKT and Drake, Londoner Sampha is launching his solo career. George Ergatoudis said one of the dominant styles for 2014 would be "indie R&B" - R&B made with an independent, experimental mindset. Female vocalists Kelela - aka the sonically adventurous 30-year-old Los Angeles-based Kelela Mizanekristos - and the eerie-voiced Londoner FKA Twigs, who is signed to the label that launched the xx, fall into that bracket. And Banks, the stage name of 25-year-old Jillian Banks, from Los Angeles, has gained a devoted fanbase with her moody, intimate R&B. Elsewhere on the list, the sassy pop of Chloe Howl has seen her compared to Lily Allen and Katy B, while Say Lou Lou are Swedish-Australian twin sisters Miranda and Elektra Kilbey, who create dreamy electro-pop. The tastemakers whose tips were used to compile the list included radio DJs and producers, TV presenters and producers, newspaper critics, magazine and website editors and respected bloggers. They included Hattie Collins, music editor at i-D Magazine, who said: "One of the strengths of the Sound Of list is the democratic, diverse range of people that are invited to vote, with people from all musical mediums from the established rock critic to the upcoming urban blogger. "This diversity is reflected in the 2014 longlist, which has a broad spectrum of emerging artists from a variety of scenes." The successful acts cannot already be well-known to the UK public, for example through featuring in the final stages of a TV talent show or having already been a member of a successful band. They must also not have been the lead artist on a UK top 20 single or album before 4 November 2013 - but guest vocalists are eligible. Since coming top of the Sound of 2013 list, Haim have gone to number one on the UK albums chart with their debut release Days Are Gone.

Calvin Harris DJ controversy highlights the fading artistry of club culture Back in the mid-90s, an act from the record label I ran at the time was selected to appear on Top of the Pops. But when we went to meet the American duo at Heathrow, neither of them got off the plane: they had decided to stay at home. Eventually, we hired two actors to play the role of DJ and keyboard player. They looked the part and no one seemed to notice. I was reminded of this episode yesterday when reading that DJ Calvin Harris has threatened legal action against the BBC for quoting him in a Radio 1 Newsbeat programme in which he appears to endorse prerecorded DJ sets. Like wrestling in the 1970s, there's always been an element of knowing subterfuge in dance music. Since much of the alchemy of the 12-inch mix is often down to one person and a bunch of machines, it does not always translate well to live performance. The real magic is when a skilled DJ and a box of records – or laptop or memory stick, as it increasingly is today – take those solitary studio moments and turn them into something communal and occasionally transcendental, with the assistance of a packed dancefloor. But where there's brass there's muck and the latest mania for EDM (an acronym for electronic dance music) in the US has brought with it a whole new set of rules. EDM has effectively bypassed the club culture on which house and techno were founded and gone straight for the stadiums and festival jugular. Judging by the many clips on YouTube, its stars have taken their cues from rock stars rather than the clubbers who helped to create dance culture around the skill of DJs such as Frankie Knuckles. This new breed of star DJ is not content to be hidden away in a booth with a tiny slit, like Junior Vasquez was at New York's seminal Sound Factory. Instead they mosh and crowd surf (DJ Steve Aoki was hospitalised after an incident involving a trampoline last week: he's clearly no Nils Lofgren) from their elevated stage, while the crowd look on, shuffling and whooping. Worse still, some of them are alleged to perform to the kind of pre-mixed sets that have caused the Calvin Harris controversy. Prerecording sets is a curious phenomenon, because it's the live interaction between DJ and dancefloor where the real fun occurs. Without the ability to change the mood, change the tempo, change the style, you're nothing more than a jukebox that needs a toilet break every so often. It's what makes DJing more elastic and versatile than, say, a rock band, whose members are tied to their audience by the songs they know and have rehearsed. Good DJs have the world of recorded music at their disposal. Half the pleasure of playing is to seamlessly go from an Underground Resistance tune into a Queen B-side before anyone realises what's happening. Prerecording misses the point entirely. Like the trend towards ghostwritten tracks (as documented in the latest issue of Mixmag), it's all part of the same culture that has grown up around, but not truly connected to, the roots of club culture. Two seasons ago, I spent a night checking out all the big clubs in Ibiza and was struck by how surprisingly dull a lot of it is these days. Tiesto's performance at Privilege looked like 10,000 people waiting for the world's largest bus to arrive. Those supernatural nights where the DJ appears to be communicating personally with each member of the dancefloor were nowhere to be seen. What marks out these events is how little interaction there is between DJ and audience. The audience consumes rather than participates, foregoing any form of empathetic experience in favour of bland ingestion (and usually faithfully documented by the cancerous presence of a thousand camera phones held aloft). A great DJ can coax you into places you didn't know you wanted to go until you get there. It's what marks them out from a ninny with too many tattoos playing a CD. Source: theguardian.com

"With most gigs, people are turned toward the DJs looking at what you are doing. It becomes a performance," explains 2ManyDJs' David Dewaele. "With Despacio, the sound is the star. In Manchester, people didn't want to take pictures with the DJs, but with the stacks." The stacks in question are the seven 3.5-meter-tall speaker stacks that make up a monster, 50,000-watt sound system called Despacio. It was designed by LCD Soundsystem frontman James Murphy, along with legendary audio engineer John Klett and mashup masters 2ManyDJs (David and his brother Stephen Dewaele). After two years of development, Despacio made its debut over three nights in Manchester's New Century Hall in July. In December, the team is bringing the ten-tonne system to London's Hammersmith Town Hall. The idea for Despacio—which means slow in Spanish—was initially to create a night in Ibiza with a beautiful sound system, where DJs could play the sort of music they don't normally have the opportunity to play. And everything had to be vinyl. "We wanted to take records and slow them down, taking 45s and playing them at 33. It gives another quality to music; it's swampy and sexy," Dewaele says, adding that it was in line with the New Beatmusic trend that emerged in Belgium in the 80s. They wanted to showcase an eclectic mix of music, combining new wave, pop, and flamenco that would embody the "true" Balearic spirit. Meanwhile, Murphy had been bouncing ideas off John Klett. Klett had been friends with Murphy since the mid-90s and had helped to build the studio for Murphy's record label, DFA Records. The audiophiles had been texting each other about the relative benefits of two different models of Klipsch speakers: the Cornwall versus LaScala. Murphy had sent over the most recent LCD Soundsystem record, which Klett was playing "really loud" through the Cornwalls he had in his kitchen. Murphy wished he had a pair; Klett told him the record would sound better on LaScalas. This time-shifted geek-out carried on for a few months until Klett received a message from Murphy. He was thinking about building a big stack of speakers, alluding back to the Klipsch conversation. They could search for second-hand kit on eBay which Klett could recondition. Amp-wise, they wanted to use McIntosh, famed for supplying amps to Woodstock and the Grateful Dead's "Wall of Sound". "McIntosh used to be in a lot of recording studios and they still make the amps in the same way," Klett told Wired.co.uk. Klett started to sketch out some designs, referencing the sound system installed at New York clubParadise Garage, which operated in the 70s. It was important to use vintage techniques. All parties involved had a shared appreciation for analogue technology. "We use almost ancient techniques, which would be very strange for a 17-year-old kid who makes techno on a laptop," explains Dewaele, "We might be working for two weeks on a kick-drum. I'm pretty sure that there's nothing in James' studio or ours that is younger than 1984." "We've all come to terms with fact that 80 percent of the work is in the details, which probably make no difference for anyone else," he adds. Full story: http://arstechnica.com/business/2013/12 ... diophiles/

Voted. Good luck

Hit 1000 plays on day 5.

yea fark missed it

Moved to Production

yea, I do a sweep for things added in the last week every day or 2

Easily gonna top 1000 plays in its first week

Nice one Shared through our network!

Tweeted/Facebooked. Also, the soundcloud tags were removed from your sig.

While details on his actual condition and the circumstances surrounding this incident are not available at this time, word from Butch Clancy‘s Facebook page was that he was involved in a car accident while on his way to an airport, and won’t be able to make his San Francisco booking. With anyone within our community, we’re sad to hear that he’s gone through this ordeal, and touched that he’s “more hurt that he couldn’t make it and disappointing his fans than he is physically.” Sign of a true professional. DAD is hoping for a speedy recovery, and we’ll keep you posted on any new details that emerge from this. Source: doandroidsdance.com

‘Play The Road’: the new app for Volkswagen drivers that automatically responds to the movements of the car, creating a soundscape that shifts in line with every subtle change in the vehicle’s movements. Amazingly, it will work so “every turn of the wheel, gearshift or location change, is reflected in the music”. The way the app works is outlined below: The innovative app reads how and where you drive, translating it into music live. The app gets speed and RPM data from the GTI’s on-board computer. The steering acceleration and location data is calculated from a combination of the accelerometer, gyroscope and GPS receiver present in the iPhone. All of the data collected is filtered and smoothed before use. Karl Hyde has described his motivation for becoming involved in the project as follows: Pretty cool huh. Head over to the Volkswagen website to watch the app in real life action – music software on a new level right here. Source: stoneyroads.com

Steinberg Media Technologies GmbH today announced significant updates to its award-winning music production systems, Cubase and Cubase Artist, available in December. Version 7.5 incorporates important workflow enhancements, version updates to its instruments and new effects to further the impressive feature set of Cubase and increase professionals' productivity when producing music. Cubase 7.5 and Cubase Artist 7.5 feature Groove Agent SE 4, a powerful MPC-like drum sampler with detailed sound editing capabilities and pattern playback. Groove Agent SE 4 also provides automatic alignment of drum maps with the Drum Editor and Beat Designer, and includes 30 new drum kits and more than 200 grooves. HALion Sonic SE 2 is the updated compact version of Steinberg's acclaimed workstation, featuring the new Trip virtual analog arp synthesizer plus eight new effects. Bringing the sounds of HALion Sonic SE 2, Padshop, Retrologue and Groove Agent SE 4 to life, Cubase and Cubase Artist now include the EDM Toolbox with 30 fresh construction kits of 25–30 MIDI loops each. Both updates highlight three great new effects: LoopMash FX comes with new style breaks, tape-stops and stutters that can easily be triggered in real time with any MIDI controller; REVelation is an algorithmic reverb for an outrageous degree of depth; and Magneto 2, the rejuvenated tape saturation processor, delivers true analog character to any track. Exclusively available in Cubase 7.5, VST Connect SE 2 adds MIDI recording to its comprehensive remote recording capabilities via the Internet. Availability and pricing From December 4, 2013, the Cubase 7.5 update will be available from Steinberg resellers worldwide and through the Steinberg Online Shop for EUR 49.99, including German VAT. The Cubase Artist 7.5 update will be available as download through the Steinberg Online Shop for EUR 49.99. From December 4, 2013, both Cubase 7.5 and Cubase Artist 7.5 full versions will be available from Steinberg resellers worldwide and through the Steinberg Online Shop. The suggested retail price for Cubase 7.5 is EUR 599, including German VAT. The suggested retail price for Cubase Artist 7.5 is EUR 299, including German VAT. Customers who have activated previous Cubase 7 and Cubase Artist 7 versions since October 15, 2013, are eligible for a free, downloadable Grace Period update to version 7.5. Source: macmusic.org