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Attack Magazine - Dance music production and culture

Attack Magazine - Dance music production and culture
Related:  Music Production

Ten Tips For Better Drums Pages: 1 2 3 4 5 6 7 8 9 10 Bruce Aisher runs through ten essential tips for getting the most from your drums. Sub-mix Compression While there is often a lot of focus on compressing individual sounds or even the whole mix, there’s also a place for something that sits firmly in the middle: sub-mix compression (sometimes referred to as ‘bus’ compression). What settings to use is really a matter of taste and is perhaps determined by how audible you want the final result to be. The second approach would be to go in with all guns blazing and deliberately squash the hell out of the drums to create an extreme effect. Uncompressed House Groove Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. With Subtle SSL Compression

Music Careers - Finding Music Business Careers Glitch 2 Introduction The infamous FSU plugin is back! And yes, there's finally a Mac version! Glitch is an audio effect plugin for Windows (VST), Mac (VST and AU) and Linux (VST), available in both 32-bit and 64-bit formats. Add the occasional splash of retrigger or stretcher to single hits within your drum loop, or fill the entire sequencer with random effect blocks for a totally chaotic trip down the digital rabbit hole... the choice is yours! Features at a glance Sequencer Each program consists of 128 scenes that can be triggered via MIDI notes. Effects 9 cheeky little effect modules designed to slice, dice, chop, screw, twist, turn and mangle your sounds into radical new forms. Randomize, Mutate, Glitch! Randomize and Mutate functions can be found at almost every level. Audio Demos Downloads The demo version does not save any program data, and will periodically output some background noise. Change Log

Five Creative Uses Of Loudspeakers That Can Enhance Recordings 1) Adding More Snares to Snare Drums If you’re presented with an “inherited recording” to mix (one you didn’t engineer) with live drums where no bottom mic was used on the snare drum, or the track sheet says “snare” but all you’ve got to work with is a dull thump, try this: Route an aux send bus output from your mixing console to a small powered loudspeaker (or, if you have an extra power amp, a regular small passive loudspeaker) you’ve placed out in the studio room or vocal booth. I’ve done this, putting my small, powered 5-inch Yamaha loudspeaker right on top of a decent sounding snare drum sitting on its stand. Use a spacer so the loudspeaker itself does not dampen the snare drum head too much. I used the plastic protective ring from a 2-inch reel of tape for a spacer, strapping it and the loudspeaker down to the drum’s shell with gaffer’s tape. Then I put my favorite bottom snare drum mic on the bottom, and brought it up in the mix on another mic input fader. 4) Kick Drum Mic

freeSFX.co.uk - Download Free Sound Effects Proper Audio Recording Levels | Rants, Articles NOTICE: If you don't want to read any this or just don't care to understand it, there's a "dumbed down" version at the bottom. Let me get something out of the way here - I'm going to try to keep this very "fool proof" - I'm not trying to sound or present this very scientifically - This is just the rantings of hundreds and hundreds of posts on a dozen or more audio forums exploding like a volcano recorded with lots of headroom. I just hope to instill a basic understanding of why certain trends and common beliefs are just plain bad. Is this a "miracle cure" for bad recordings? So, if you've been struggling with recordings that sound "weak" or "small" or too dense or "just not 'pro' enough" then please, read on. As a mastering engineer, I work on recordings from pretty much every level of experience. "Ultra rookie" recordings - Those made by people with little or no experience, sounded fine. You're probably recording too hot. First, let's get through a little nomenclature -

The 10 best lectures on electronic music ever; watch them now Thanks to the wonders of the internet, one’s quest for knowledge really has no limitations. Between the plethora of digitized articles, documentaries, and—on the technical side of things—instructional videos and guides around, there is no shortage of information accessible to those who seek to learn more about the ever-expanding world of electronic music. The lecture, however, makes for a unique form of information sharing as it not only provides the necessary facts and details, but also allows for attendees (and, eventually, viewers) to get a sense of the person behind these facets of knowledge. With that in mind, Beatport News has compiled what we believe are 10 amazing lectures on electronic music, gathering videos from modern innovators, dance music originators, technical wizards, and a few that simply capture a time and place in electronic music too perfectly to overlook. This 2007 RBMA lecture features a young (well, aged a mere 25 years) A-Trak alongside the late DJ Mehdi.

Pensado's Place - Learn how to produce, record, mix, and master music and audio FACTmagazine Subscribe to FACT TV: From the start of July through to the end of September, Jackmaster will hold down a residency at XOYO, playing every Saturday with a variety of guests that includes Joy Orbison, Moodymann and Kenny Dope. This Saturday, he shares the stage with two titans of grime and dubstep, Slimzee and Loefah. A member of Pay As U Go Cartel and a key part of Rinse FM from the start, Slimzee was the grime DJ. He’d spin for the two best MCs – Dizzee Rascal and Wiley – and if a rival DJ had a special VIP dubplate, Slimzee already had the VIP of the VIP. Artists are often better than journalists at getting stories out of fellow artists, and in this interview Slimzee speaks candidly about his much-mythologised ASBO, how he started up DJing, the origins of his most infamous dubplate and more. Jackmaster, Slimzee and Loefah play XOYO on Saturday 26th of July. Produced by Luis MuñozFilmed by Kamil Dymak

Music Theory As of July 1, 2013 ThinkQuest has been discontinued. We would like to thank everyone for being a part of the ThinkQuest global community: Students - For your limitless creativity and innovation, which inspires us all. Teachers - For your passion in guiding students on their quest. Partners - For your unwavering support and evangelism. Parents - For supporting the use of technology not only as an instrument of learning, but as a means of creating knowledge. We encourage everyone to continue to “Think, Create and Collaborate,” unleashing the power of technology to teach, share, and inspire. Best wishes, The Oracle Education Foundation One Note Techno John Selway In the second installment of Techno Fundamentals, electronic music producer and Dubspot instructor John Selway looks at the “one note lead” idea using Ableton Live‘s Analog instrument. Commonly used in techno and other styles of electronic dance music where melody takes a backseat to rhythm, the “one note lead” is a simple yet very effective composition technique. Just in case you missed the previous tutorial, More Than A Bassline, check it out here, and do stay tuned for part three. Continuing where I left off in the first Techno Fundamentals tutorial, in this new installment I’m demonstrating another take on the idea of starting with a very simple musical element that, with a few precise sound design techniques and real time control, becomes a major element and source of energy for a track. We went long recording the tutorial so it’s been split into parts 1 and 2. John Selway is a DJ, producer, and music educator based in New York City. What’s Included:

Vespers Sometimes the most rewarding production tricks or techniques are the simplest ones. Certainly they are often the ones that yield the most “happy accidents,” the term I use for when experimentation yields something that rocks. Over the next while, I’m going to go through some of my go-to tricks for inspiration from unlikely sources – the often overlooked, sometimes misunderstood, always unappreciated devices in Live’s catalog. Today we’re going to kick it off with a not-so-common use of the Live’s Gate. This little guy right here: Everyone (or rather MOST people) know about Live’s sidechain input on its compressor. What many people don’t know about, or at least don’t utilize, is the sidechain in on the Gate device. Like sidechain compression, it’s a useful feature to pull out when making things dovetail together in the mix to clean up a signal, but in general when I use it it’s for an entirely different purpose. Basically the approach is this: 1 – Take a sustained note from a synth.

Abelton Life Point Blank

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