Cupe

An extended edit of a track I'm doing for a uni assignment (multi-track audio work for an imaginary album created in response to a visual/graphic stimulus). https://soundcloud.com/cupe/c-pe-detat-the-thoughts-of *edit* This is the actual assignment file https://soundcloud.com/cupe/assessment-2

Tweeted on @ausdjforums

Dude use the youtube tags so the clip embeds Read this: viewtopic.php?f=54&t=12659

Depends what your definition of max is. And house parties can't get too brutally loud 'cause of neighbours and cops and shit

What's the non-guest list price?

Seems to be working well so far, hits wise We'll see in the long term when stuff starts getting retweeted on big pages etc

Cheers big ears

LOL

will.i.am will accept a CLIO Honorary Award at this year's CLIO Award Ceremony, scheduled for May 15 at New York City's Museum of Natural History. The Honorary Award celebrates "the work and talent of those who push the boundaries of creativity in advertising and beyond." In a statement, CLIO Awards executive director Nicole Purcell said: "will.i.am has not only mastered music but has transcended his art form, extending his boundless creativity into areas like politics, technology and philanthropy. He embodies all of the values the CLIOs represent by inspiring change and encouraging us to think differently.” In their 54th year, the CLIO Awards honor creative advertising in package design, print, radio, and television. The Honorary Award was first handed out last year, with Anthony Bourdain and Annie Leibovitz taking home honors. Last month, will.i.am announced the official release date for his long-delayed solo album "#willpower." It's due April 23 via Interscope Records and will feature collaborations from pop stars like Justin Bieber, Britney Spears, Lil Wayne, and more. From billboard.com

We don't actually have enough to pay the current bill yet lol

Fuck Oxykon, save some room for other people to donate

1. Where did the name come from? ysm is short for Your Surrogate Mother. I see a similarity between surrogate mothers and artists. Each goes through a process of creating something for themselves but ultimately for someone else to enjoy and embrace as their own. 2. How long have you been playing & how did it all begin; What factors came together for you to take an interest in DJ'ing/Producing? I have been playing guitar now for about 14 years. DJ'ing & Producing for about 2 years. The interest in producing started with me playing guitar long ago. I have always wanted to write music, play gigs, be in a band etc. The problem I had with bands is the other band members. haha! The Drummer was always too stoned to play, The Singer just had another kid and is too busy, Bass player just can’t be f'ed today etc. etc. Electronic music production caught my eye when I got a demo version of FL Studio. I realised with this DAW i could make music anytime I wanted. Day or night, in my own house & no need to rely on anyone else. The idea of a DAW that was ready to go when i was just seemed to fit. DJ'ing came about when i was looking for information on starting out in music production with DAWS etc. Stumbled across ausdjforums.com & never looked back 3. What do you spin? How would you describe your sound and what sort of style/DJ's influence you? Usually i find myself mixing lots of Psytrance (which is funny because i really never listen to it any other time but when mixing) or as recent more down tempo, trip-hop flavours have got me pretty keen. I like to try and mix most things. Try being the key word! DJ's that influence me are literally the DJ's from ADJF. They have high standards, a great idea of what mixes well & constantly turning out quality mixes. It keeps me from putting out any mix that is not the absolute best i can do at the time & to keep practicing! 4. What are your weapons of choice? DJ'ing - Traktor 2.6, Vestax VCI-100mk2, Traktor Kontrol F1, Sennheiser HD 202 Headphones Production - FL Studio 10, Akai MPK Mini, Korg Nano Kontrol To make them work - Dell Inspiron, M-Audio Fast Track Ultra, KRK Rokit 8's 5. If you could change 1 thing along your way up to where you are now, what would it be and why? I probably would have listened to most people’s advice and gone with some CDJ's & mixer instead of a MIDI controller. It would have made my first gig much less sloppy and I found when out playing i prefer the feel of cdj's over midi controllers. 6. If you could put yourself as the resident DJ in any scene, where would you choose and why? I would be more than happy doing the psy festival scene in Europe at the moment. Fun music to mix, foreign lands, the out doors, beautiful ladies and party, party, party! 7. What other Australian DJ's/Producers do you rate? I rate pretty high a local guy in Hobart called DJ Grotesque, amazing mixing, scratching etc. Mind blown. Producers - Hydraglyph, Sokuseki Men, The Avalanches, The Scientists Of Modern Music 8. What was the first album you ever bought? The Alan Parsons Project - Pyramania

Thanks chief Almost there

Anyone got a promo code for a discount when upgrading soundcloud? I could only find expired ones

Follow me https://twitter.com/BullrushDubstep I'll follow you all back.

We are still well under budget so far. Anyone that can afford it, even $5 will help.

18-24 year-olds are driving the vinyl music revival, according to research by ICM. The research (taken from nationally representative online survey of 2030 consumers) reports that in the last month 5% of respondents had bought music in vinyl format with sales of new and vintage vinyl biggest amongst 18-24 year olds with 14% having bought vinyl in the last month compared to 9% of 25-34 year olds and 5% of 35-44 year olds, going against the typical view of younger consumers growing up as largely digital consumers of music. In qualitative answers respondents referred to the ‘raw sound’, artwork, collectability, tactility that vinyl offered and described it as ‘more akin to an actual instrument’ in reference to mixing. Of the sample, those preferring to shop in independent record stores accounted for 85% of record buyers and almost a third of wider respondents from the overall sample (32%) said indie stores were their preferences – with 47% of that made up of 18-24 year-olds of whom 10% visit on a monthly basis, and 78% spending up to £15 per visit. Around a quarter of respondents treasured their vinyl as art pieces and not audio – with 27% saying they don’t play the records they own and buy CD versions for audio with respondents saying: “It allows me to display the cover in my frame and leave the CD in the rack to play," and “You can own what is essentially a piece of art in a size where artwork can be appreciated (unlike most CD covers).” The research also pointed out that Britain’s independent record store numbers have declined from around 2,200 in the 1980s to just under 300 today. Maurice Fyles, research director at ICM Research said: “Our research shows that independent record stores are driving and fulfilling a growing demand for music on vinyl – from new Limited Editions to second-hand collectibles. “With the closure of many branches of HMV some might expect that demand for music shops and physical formats are declining – our research rejects this. Rather, when there is so much music available to buy or download online, people’s needs from the high street record store have changed. Independent record stores offer a diverse, interesting and rare range of music – and that seems to be the key to their continued survival. It’s a real sign that our high street is evolving to changing consumer needs, and that other local independent retailers can take encouragement from this story.” From musicweek.com

Recently FL Studio made the FL Studio 64-bit BETA version available for testing. Please note that this BETA expires May 1, 2013. For those interested check out the info here: http://forum.image-line.com/viewtopic.p ... 3&t=104931

Hip-hop is having a renaissance right now in the city of New York, where it seems like every other day a new MC rises up out of the five burroughs with an even more unique style and approach to the music than what we thought was possible before. Motley crews like the A$AP Mob, the Beast Coast, and World's Fair have given us a reason to love rhymes again. We've written a lot about this stuff, but sometimes words don't do it justice. So, we've linked up with scene insider Verena Stefanie Grotto to document the new New York movement as it happens in real time, with intimate shots of rappers, scenesters, artists, and fashion fiends. Check back every week or so for more photos: http://www.vice.com/read/ny-state-of-mind

Sandwell District seeped into the techno world like smoke under a door, with a grip of deliberately oblique and undeniably compelling releases. Its dub poetics were some unholy fusion of post-punk's and dub techno's alternately grim and sublime atmospheres, all laid out over Cartesian drum-machine grids. Now technically defunct, the collective has splintered productively into its constituent parts, with marquee releases like Silent Servant's Negative Fascination and Function's Incubation elaborating different facets of the former unit. With the these affiliates' solo careers continuing to pick up speed, a Fabric mix is not the most expected epilogue to Sandwell District's unexpected moment. But needless to say, for the legions pining for another immersion in the aesthetic, Fabric 69 is a worthy companion to the crew's 2010 full-length opus, Feed-Forward. The tracks selected for the mix cut a familiar figure—from Fiedel's Berghain techno to Factory Floor's London squalor—while the mixing allows gaps and pregnant pauses to intervene when things get predictable. For the purposes of this mix, the Sandwell District collective is boiled down to core members Function and Regis. The differences between the two—their respective strengths as DJs and the sounds they're focused on as producers—are well calibrated, creating an ebb and flow. The mix travels in controlled orbit between experimental music poured into the techno mold and techno destabilized by experimental tendencies. Function is something of a classicist, but one whose enthusiasm for bread-and-butter sounds adds new dimensions to even the most familiar sources. (One could assume the inclusion of Plastikman's "Plasticine" and Carl Craig's "Darkness" are his, and it is telling that their appearances make up two of the mix's most memorable moments.) Regis' more avant-garde leanings make the peaks and valleys pop; one might imagine him as the guy ferrying listeners over Styxes of locked grooves as well as the one delivering them into the hellish melee when peak time arrives. However the labor is divided in reality, the mix stands out because of this mixing style, which builds up only to coast gracefully back to square one. On average, commercial mixes and podcasts build momentum through a few obvious things that signify consistency. Fabric 69 is all about momentum, too, just on a level that's less than strictly literal; at any given point, these two are in the process of going somewhere or going to pieces, and each direction is just as interesting to follow. When they drop something like "Mark Ernestus Meets BBC," they take a track that's perfectly fine on its own and imbue it with a sense of purpose that comes close to epiphany; it feels more like they're conjuring the skeletal punch of the drum machine and chunks of delay-wrenched synth from the ether than it does two guys merely putting a needle on vinyl. And it all transpires between Function's own "Voiceprint" and the drum-machine bacchanalia of "Voiceprint (Reprise)"—a reminder that the connections made within are integral to Sandwell District's aesthetic, but are far from the whole story. From http://www.xlr8r.com/reviews/sandwell-d ... /fabric-69

Raekwon recently sat down with Sermon in Seattle and spoke on the upcoming 20th Anniversary Wu-Tang album A Better Tomorrow which he says is still in early stages. He also reveals that he did not know about the title of the album until it was made public to everybody. The group is however is planning a tour and as regards to Chef’s forthcoming solo LP F.I.L.A., things are “baking in the oven.”

Raekwon is on fire. Since the release of Only Built For Cuban Linx II last September, the sequel to his classic 1995 debut, the Wu-Tang Clan member has been enjoying a late-career resurgence rarely seen in hip-hop. His most recent power-move, a collaborative remix of Justin Bieber's "Runaway Love" instigated by Kanye West on Twitter, left hardcore Wu-Tang fans and a nation of tweens equally confounded. But with more Kanye-affiliated music, his next solo album, and a feature film on the way, the Chef is just getting warmed up. The rapper spoke with Vulture about all that and more. You've had one hell of a year. It's been prosperous, difficult, and definitely refreshing. I say "prosperous" because we've gained so many points in so many different ways in the industry, as well as with our fans, and they give you the motivation. I know that the key to really being relevant in the game is just being prosperous. Difficult, meaning it's a new industry, so you definitely have to see how things work inside the business now, and it took me a minute to really understand how things is working. It's a whole new system, it's a whole new generation of kids, a whole new industry that I really had to really adjust to. Being the CEO now of my own company, things wasn't really easy as I thought it would be, but it kind of gave me both sides to look at, as far as being an artist and being a chief vocalist. It was a lot of blood, sweat and tears situations, and it's all about balance, and I think I had to really learn that. I'm not gonna act like that was easy. What was the other thing I said? Refreshing. Yeah, refreshing. Refreshing is like, now I really know where I want to be at, and I'm happy. My family is happy, and it's all about being new again in the game. That's the reason we've been able to accomplish so much since the album dropped. What's up with your next album, Shaolin vs. Wu-Tang? It's just a typical album. It's gonna be a great, solid record. It has a good concept to it. It's self-explanatory — Shaolin vs. Wu-Tang is just alter-egos versus alter-egos. Shaolin is the land, Wu-Tang is one of the schools from Shaolin, so it's kind of like testing each others' swords out in many different ways on the album. It's gonna be a tight album, I'm gonna have a couple of great features on there, and it's definitely gonna be a classic. So this is for the Wu lovers and whoever just respect good hip-hop music. This is one that you'll definitely want to have on your shelf. I'm really working hard at it, I feel good about where I'm at with the production. We're looking forward to next year, just really giving y'all the heat. In terms of production, why isn't RZA contributing anything? It's not nothing personal, it's just me having enough respect for him to know that at the end of the day, I didn't want to make him feel like he had to be a part of it. It's no animosity, that's still my brother. I want to go out there and test my skills with other producers as well. But it's all love. All love. I just more or less said I'll do this around him. If he chooses to be involved with it, that's on him though. But RZA's been very busy at the same time, so it really wasn't no space where I felt like he would have been able to be there for that. Is it true that Eminem and Nas are appearing on the album? We don't want to start really advocating certain things yet, but it's a lot of things in the making. We do have a couple of features, but the guys that you said right there, it's not fully official. Let's talk about your remix of Justin Bieber's "Runaway Love" with Kanye. What kind of response have you gotten since it came out? I've been getting a great response. It's been a couple of mixed feelings on the net. It's all good. It makes me laugh to know how people feel about certain things, but for the most part, everybody appreciated it. You almost feel like somebody wants to down you, but then when they hear it, it's like you can't really speak bad about it. Me, as somebody that's an O.G. in the game, an old school legend, however you wanna call it, he gave me an opportunity to reach the young youth. And he's a newb right now, so if he needs my assistance, of course I'm a be there to show my support. Everybody stayed in they element. Rae didn't go away from his element. I gave it to it according to what I felt. I think [bieber's] a talented young cat, and I wanted to be a part of that, so really anything else after that is just history being made again. He wasn't around while we was doing our thing, but at the same token, he acknowledges us, we acknowledge him. We got his back. That's how I wanted to come at the situation, and I think a lot of people was looking at it like "the collaboration sounds crazy," but you can't front on me and Kanye. You can't front on Justin. We all got great careers, and we've been successful through our trials already, you know? Justin called you "Chef" on Twitter. Were you surprised that he knew about you like that? I was surprised, more or less, that he was down for the get-down, which is, wanting to make that happen. But everybody calls me "Chef" in the game, and I'm sure that he's a hip-hopper. He's up on Wu-Tang. I'm sure that the cats he be around, they let him know what's real and who's who, so I wasn't really shocked on that note, I was more shocked that he would have wanted to do something. That part made me feel good. Will you be doing more work with Kanye after this? We're discussing things, and we definitely agreed to put in some more work together soon, so you're gonna see something happen real soon. Real, real soon. At the end of the day, we've always been in the game as peers and friends. I've known Kanye for a while. We never got that opportunity to work together, but now things is happening. Yeah, get ready for it. You're gonna hear some things. The remix samples "Wu-Tang Clan Ain't Nuthing Ta F' Wit." Have you gotten any feedback from the rest of the Clan about it? Definitely. They're happy. They see that I'm out there doing what I have to do to keep the flag up. It's a great situation to be in, where you look at shorty, you look at Justin, he's a young dude that really is a sparkling artist. For him to acknowledge Raekwon, it's like he still acknowledges Wu-Tang. Everybody's like "good move," you know what I mean? "Good move in your career. You keeping yourself relevant with the youth and the youngsters." That's what it's all about, letting the youngsters know that we got they backs, and let's make great music. Speaking of keeping the flag up, what's going on with GZA's Wu-Tang documentary? I guess that's something that GZA's been working on for a long time. It's like the times and the past of Wu-Tang, everything that's going on, and I guess he's revealing it. It's something that's gonna have you cracking up, laughing. You think of Wu-Tang, you think of a great reality show. He's just trying to give you a little flavor from the door, on where we was at in that time. Come on, he been working on the shit for the last ten years, so, it should be pretty good. Having worked with so many different people over the past year, are there any other new collaborations that you're excited about? I just did a record with Faith [Evans], I'm a big fan of hers. A nice remix for all the females as well as hardcore lovers or R&B lovers. At the end of the day, it's just so much going on. I still got my heart in finishing up the Shaolin vs. Wu-Tang album. I'm working on a movie called C.R.E.A.M. that I co-directed with one of my partners. We teamed up with [Damon] Dash. Y'all gonna be hearing more about this movie that we're putting together called C.R.E.A.M. It's called Cash Rules Everything Around Me. It's a lot of things transpiring right now, but I just want to continue to stay in my zone, stay focused, and keep working. Will you be acting in C.R.E.A.M. as well? Nah. I'm playing the outskirts on this one because I kind of feel like that's where I'm at. You know, I don't know. At this point, I probably won't be in it, but we don't know. I want to more or less capture the scenes from the outside looking in, because I want it to be something that people say is a classic, and they respect the storyline of where we went with it. This is something I've been wanting to do for a long time, even when we was making Cuban Linx II, I was already making it my business to obligate time to that, to putting the script together. It's where it needs to be right now. So it's just a lot going on, man. I'm just trying to be a machine. A roller coaster machine, man. From vulture.com

Twitter is all over the music tech news today, but Facebook just quietly rolled out another social music feature too: the ability to specify what you are listening to — you know, the same way the new Twitter #music app lets you say what’s #NowPlaying. When you post a status update on Facebook, a new option appears that looks like a little smiley face, right alongside the other icons for who you are with, where you are, and what you are looking at (in the form of an image). Now, you can add how you are feeling or what you watching, reading, listening to, drinking, or eating, with the option to select from pre-filled options or enter your own text: In the case of the music feature, Facebook appears to be pulling from likes and possibly listening activity, because I do in fact Like Slint, Pulp, and Beck, as well as the other artists included in the pre-filled selection. When you post the status update, little headphones appear next to it, like this: That looks to be all there is to this new feature. However, it’s interesting that Facebook elected to roll out a “what I’m listening to” feature a couple of hours after Twitter rolled out #NowPlaying as part of its new music app. Competition appears to be heating up between these two in their efforts to convince us to divulge everything about ourselves at all times, in real time.