Music Info Tuner

Auto-Tune 5 Pitch Correcting Plug-In

2011-01-22T00:05:00.000+08:00

Introducing Auto-Tune EvoThe Next Generation of the Worldwide Standard in Professional Pitch Correction The Fastest, Easiest-To-Use, Highest-Quality Tool for Correcting Pitch

Hailed as a “holy grail of recording,” by Recording magazine (and adopted worldwide as the largest-selling audio plug-in of all time), Auto-Tune corrects intonation problems in vocals or solo instruments, in real time, without distortion or artifacts, while preserving all of the expressive nuance of the original performance – with audio quality so pristine that the only difference between what goes in and what comes out is the intonation. All with a user-interface that is a model of clarity, speed and ease-of-use.

For most common pitch problems, Auto-Tune Evo’s Automatic Mode instantaneously detects the pitch of the input, identifies the closest pitch in a user-specified scale (including minor, major, chromatic and 26 historical and microtonal scales), and corrects the input pitch to match the scale pitch. A Retune Speed control lets you match the retune rate to virtually any performance style.

For meticulous tweaking, the Graphical Mode displays the performance’s detected pitch envelope and allows you to specify the desired pitch using a variety of graphics tools. This mode gives complete control over the correction or modification of the most elaborate expressive gestures.

Auto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, to save that otherwise once-in-a-lifetime performance, or to create striking special effects, Auto-Tune Evo is the tool of choice.

While Auto Tune’s patented technology has always provided unmatched speed, accuracy, and audio quality, for Auto-Tune Evo, Dr. Andy’s gone back to the proverbial drawing board to create a seriously evolved voice processing technology that takes advantage of the hugely more powerful computers that are now the norm for digital audio recording.

The result is Evo™ Voice Processing Technology, offering powerful new features and capabilities along with pitch detection and correction that is substantially more accurate and reliable over a much wider range of audio input quality.

General Features

Dramatically enhanced core technology: Evo™ Voice Processing Technology takes advantage of the power of today’s computers to provide powerful new features and enhanced tracking and correction capabilities.

Redesigned user interface: Continuing the process begun with Auto-Tune 5, we have again refined the Auto-Tune user interface to allow for smoother, more intuitive workflow.

Reorganized common controls: With the addition of the new pitch shifting, formant correction, and throat modeling capability

Midi Keyboards: Why? How?… & 5 of the Best!

2011-01-22T00:04:00.000+08:00

The Edirol PCR-M1, the world slimmest MIDI Keyboard…view more

A MIDI keyboard is a piano-style digital keyboard device used for sending MIDI signals or commands to other devices connected to the same interface as the keyboard.

MIDI is an acronym for Musical Instrument Digital Interface (protocol). The basic MIDI keyboard does not produce sound. Instead, MIDI information is sent to an electronic module capable of reproducing an array of digital sounds or samples that resemble traditional analog musical instruments. These samples are also referred to as voices.
An encoding scheme is used to map a MIDI value to a specific instrument sample. Also, other sound parameters such as note volume and attack are included in the MIDI scheme. The keyboard merely acts as a MIDI controller of sound modules and other MIDI devices, including DAW software.
MIDI keyboards are a very common feature of a recording studio, and any DAW setup. Most include a transpose function and the ability to set different octaves. Many MIDI keyboards have pitch bend and modulation wheels. Some also have extra sets of assignable rotary knobs and/or buttons for sending custom MIDI messages to the synthesiser, sampler or DAW software.
Other features that some MIDI keyboards might include are:

Input for foot switch (usually used as a sustain pedal)
Input for a foot expression controller
Semi-weighted or fully weighted keys
Capability of sending aftertouch
Direct USB connection for use with computers

In other words if your serious about making music on a computer a MIDI device will make your work better faster!
How do I connect a MIDI keyboard to my computer?
The first thing to do is to make sure that your MIDI keyboard has MIDI ports on the back. It is very rare to find a modern midi keyboard without MIDI ports.

Here are your options:

USB to USB
MIDI to MIDI
MIDI to USB port
MIDI to soundcard gameport

USB to USB
Every modern MIDI controller keyboard we sell excluding those by Fatar now come with a USB connection for easy use with computers. Some keyboard are even ‘class complient’ which means you don’t even need to install any software. The cable you need for a USB to USB connection is just a standard USB cable which should be included with your keyboard. For USB Cables in stock at Dolphin, CLICK HERE
MIDI to MIDI
Some of the audio interfaces we sell such as the M-Audio Audiophile 2496 or the Tascam US-122 combine Audio & MIDI I/O enabling your to connect your keyboard directly to your sound card. For MIDI Cables in stock at Dolphin,CLICK HERE.
MIDI to USB port
If your sound card doesn’t have MIDI connections and your keyboard doesn’t have USB then the next best option is a USB to MIDI interface such as the M-Audio Uno or the Edirol UM 1X.
These devices come equipped with a USB connection for your computer, and a 1 In/ 1 Out 16 channel MIDI connection to your MIDI keyboard. However if you had more than one MIDI device to connect such as a second keyboard or a sound module then mutli port options are avalible such as the M-Audio Midisport 2×2.
MIDI to soundcard gameport
If you are using a standard computer sound card rather than a music sound card, then it may have a joystick port.

If you have a joystick port then all you need is a cable that has a 15 pin ‘D’ connector at one end and MIDI connectors on the other.
If you need any further help, please call us on 0844 815 0888 and speak to one of our experts. We’ll be glad to help and direct you to the best gear for your needs.
More about MIDI…
MIDI data is not the same as sound data. What is transmitted over the wire is information on how to play a song, not the physical sound data itself. MIDI can be thought of better as a player-piano roll than a compact disk: just as the piano-roll instructs the player-piano to create the sounds, MIDI data tells a MIDI device which notes to play, patches (instruments) to use, and other information to help the instrument recreate the song. When you listen to a MIDI file, you’re hearing an actual ‘performance’ by the instrument, not a ‘recording’ of a past performance.
MIDI was not designed to be used with personal computers, but since it is a digital interface, they actually work very well together. Combining at least one MIDI instrument with a personal computer and a MIDI interface (a device that allows the computer to “speak” MIDI) allows for many interesting applications.
The the easiest way to get this up and running is to us a USB to MIDI keyboard. This will take care of any MIDI channel assignments and route it effectively in your DAW with ease.The USB device drivers are also native with Windows and Mac, which it will just WORK
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MIDI Keyboards: 5 of the Best

M-Audio Oxygen 8 v2 25-Key USB MIDI Controller

The Oxygen 8 v2 is an updated version of the mobile MIDI controller that started the mobile studio revolution. You get a fully functional MIDI keyboard with great action, plus eight MIDI-assignable knobs to control any MIDI parameters you desire in your hardware or software. It’s perfect for composing on the go or performing live bass lines and pads, firing samples, or triggering audio and/or visual effects. New features include full MIDI message support, plus 6 transport controls that can be reassigned to any MIDI parameter. The Oxygen 8 v2 also offers 10 non-volatile memory locations and is compatible with our free Enigma software for computer-based storage, retrieval and management of an unlimited number of patches.

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E-MU Xboard 61 Pro USB/MIDI Controller Keyboard

The new E-MU Xboard™ 61 USB/MIDI Controller features 61 premium full-size keys with aftertouch, 16 programmable real-time control knobs, 16 new patch select/program change buttons, Xboard Control editing software, and a full version of E-MU’s Proteus X Version 1.5 Desktop Sound Module with over 3GB of sounds, including a new custom bank of E-MU’s finest performance keyboard sounds. The Xboard Control (Windows/Macintosh) software provides an intuitive desktop interface that lets you effortlessly create custom templates for all of your favorite hardware and software instruments. The Xboard 61 also gives you four Zones per patch (each with its own key and velocity ranges), allows you to set discrete MIDI channels for each knob and offers unrivalled real-time control and performance features, including Snap Shot that lets you send multiple program changes and controller values by pressing a single button, and Latch Mode that enables you to define a section of the keyboard as on/off triggers – perfect for drum loops. The Xboard 61 is perfect for studio and stage and can run on USB, battery, or AC power.

Music Recording Software – Sequencers, 5 of the Best

2011-01-22T00:02:00.000+08:00

A music sequencer (also MIDI sequencer or just sequencer) is software or hardware designed to create and manage computer-generated music. In other words its plays back a musical ‘Sequence’ that you the user has defined.

Although the term ‘sequencer’ is today used primarily for software, some hardware synthesizers and almost all music workstations include a built-in MIDI sequencer. Drum machines generally have a step sequencer built in. There are still also standalone hardware MIDI sequencers, though the market demand for those has diminished greatly in the last ten years.

This article is focusing on the software side of the fence, here is is our 5 best and most popular software sequencers.

Ableton LIVE 7

A very powerful program ideal for live applications and ‘real time’ manipulation.- One of the fastest growing programs we have.

Ableton Live 7 is your companion during every stage of the musical process, from creation to production to performance.
The Live Concept

Live offers two main views—the Session View and the Arrangement View—that interact in a powerful and unique way, allowing you to create, produce and perform your music all in a single application. Here is the principle behind each view:

Session View

Live’s unique Session View acts as a powerful musical sketch and launch pad, allowing you to try out new ideas easily and improvise freely. Each cell in the Session View grid can hold a recording, MIDI file, or any other musical idea. These ideas can be recorded on the fly or dragged in from the Browser and played in any order and at any time you wish.

Arrangement View

The Arrangement View offers a timeline-based approach for traditional multitrack recording, MIDI sequencing and other music production tasks. You can even improvise in the Session View, and all of your actions will be recorded into the Arrangement View, where they can be edited whenever you like.

Steinberg Sequel 2

Steinberg’s entry level sequencer arms you with alot of tools to make music very fast.- A rethink of a classic format

Sequel turns you into a producer, and gives you your own fully-loaded music studio. You need HipHop beats for your latest track? Or want to surprise your friends at your next party with your own electro live-set? Sequel gives you everything you need to produce pro-quality tracks at home, on a plane, in the rehearsal room or even live at a club.

And best of all, Sequel is so easy to use that you can get creating your own music straight away.

Want to get them bangin’ their heads to NuMetal or chill out to Ambient? Produce your own tracks in any ‘now’ musical style with over 5000 outstanding loops and over 600 instruments. Just a few minutes will see you creating your own songs, even if you can’t play an instrument or don’t have any musical knowledge at all. Because Sequel stays in the right key automatically, and never gets thrown out of rhythm, leaving you to get creative with your own music.

More than 5000 Loops (2000 instrument loops, 3000 audio loops)
More than 600 instrument presets
More than 50 audio track presets
More than 150 effects presets

Recording format: Stereo WAV16-bit or 24-bit with 44.1 kHz sampling rate (CD quality)
Supported file formats (import, drag & drop): WAV, AIFF, MP3, WMA, WMA Pro, OggVorbis, Standard MIDI file (SMF)
Export: WAV, AIFC, AIFF, WAV64, OggVorbis
Export project to iTunes: one-step mixdown/export function opens iTunes with new track in destination format (iTunes converter, including MP3, AAC, and Apple Lossless)

Sony Media ACID Music Studio 7

ACID Music Studio is by far one of the easiest sequencers to get used to, ideal for beatmatching and remix’s as well as traditional multtracking, it also is one of our most affordable entry level sequencers. – Highly underrated program capable of things programs 10 times the price can do!!

If you’re serious about making your own music, ACID Music Studio software is the perfect tool for original song creation, multitrack audio and MIDI recording, and studio-quality mixing, and effects processing. Share your songs any way you want — burn your own CDs, upload to the web, prepare audio for podcasts, or export to your MP3 player. With built-in tutorials to guide you, you’ll be composing, mixing, and mastering like a pro in no time.

Your Music Studio

Easy Live Recording – Record vocals, guitars, keyboards, and other instruments with ACID Music Studio software. It’s easy – simply plug your microphone or instrument into your PC sound card and click Record to capture audio and MIDI.
Powerful Mixing – 3,000 ACIDized music loops, 1,000 MIDI files, built-in effects, and other tools. You can also import your own songs and MP3 files for beat-matching and mixing.
Share Anywhere – Burn your own music CDs, save the songs you create to popular formats for uploading to websites such as ACIDplanet.com, prepare audio for podcasts, or convert songs to MP3 format for playback on your portable music player.
Easy to Use and Learn – Even if you’ve never written a song or played an instrument, you can use ACID® Music Studio software to create original music, produce DJ-style remixes, add soundtracks to videos, and burn professional-quality CDs.

Steinberg Cubase Studio 4

If you ask anyone what a sequencer is they usually mention ‘Cubase’ first. Cubase Sudio 4 is a scaled down version giving you all the same features of the full version of Cubase without the studio based ‘bussing’ architechture. If that statement means nothing to you, you will not be needing them!

Cubase Studio 4 is the perfect music creation and production system for composers and producers. It comes with a brand-new VST3 plug-in set, integrated virtual instruments providing more than 600 sounds, and professional notation. The unique SoundFrame™ Universal Sound Manager organizes all your sounds from every instrument in your studio.

Top-10 New Features

SoundFrame™ – Universal Sound Manager
21 All-New VST3 Audio Effects Plug-ins
Built-in synth engine with hundreds of sounds
Professional score editing, layout and printing
Extended VST mixer
MediaBay
Instrument Tracks
Track Presets
User Interface Redesign
Drag & Drop for Insert FX

Propellerhead Reason 4

Reason is the exception to these 5 sequencers, ie this is not for audio recording. This ONLY records (MIDI) information and is played back through one of the most impressive sampled sound banks on the planet. You want excellent pianos? Reason has them. You want vintage synthesizers?…Check! You want loops? Reason has it all.

Making music should be as easy as powering up a computer, loading up a powerful piece of music software, and getting down to business. And it is. Reason version 4 is a virtual studio rack with all the tools and instruments you need to turn your ideas into music. And it’s more than just a set of excellent synths and effects. It’s a complete music system. Step into the age of Reason.

Synthesizers, samplers, drum machine, REX file loop player, professional mastering tools, mixer, vocoder, world class effects, pattern sequencer and more. As many of each as your computer can handle. Reason is an infinitely expandable all-in-one music production environment, complete with its own realtime sequencer.

Use Reason the way you want to:

As a self-contained synth studio system – Everything you need is there, including a fast and flexible sequencer with powerful, dedicated event editors for each type of device.
As a sub-system synchronized to your audio sequencer – Process Reason’s audio output with plug-in effects and mix it with your hard disk tracks. With Reason in ReWire mode, its instruments are automatically patched into the mixer in any other ReWire compatible application. Seamless integration.
As a Workstation synth – Easily load up complex performance patches – instruments pre-routed through effects – in one single click. Perfect for live gigs and performances.
System requirements

Other commercial sequencers

Cubase and Nuendo from Steinberg
Digital Performer from MOTU
FL Studio from Image Line Software
Logic Pro, Logic Express and Garageband from Apple
Pro Tools from Digidesign
Sonar, Project5 and Home Studio from Cakewalk
Tracktion from Mackie

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Christmas Gift Suggestion: E-mu USB Audio Interface

2011-01-22T00:00:00.000+08:00

The E-MU 0404 USB 2.0 Audio/MIDI Interface delivers an unparalleled level of audio performance to your PC with premium 24-bit/192kHz A/D and D/A converters, pristine XTC mic/line/hi-Z preamps, ultra-low jitter clock and rock-solid stability.

From its plug-and-play functionality and hands-on ergonomic design to professional features and signal-to-noise specs that are simply unmatched by any other USB interface on the market, the E-MU 0404 USB will forever change your expectations of USB audio. The E-MU 0404 USB also ships with the E-MU Production Tools Software Bundle that includes E-MU’s Proteus VX, as well as software by Cakewalk, Steinberg, Ableton, IK Multimedia, and many more – everything you need to create, record, edit and master your music.

Premium 24-bit/192kHz A/D and D/A converters (A/D: 113dB SNR, D/A: 117dB SNR) deliver unmatched USB audio fidelity
E-MU XTC Class-A ultra-low noise Mic/Line/Hi-Z preamplifiers (-127dB EIN) with 48V phantom power and ground lift switches enable you to plug microphones, keyboards and guitars straight into your computer with professional results, while the built-in analog soft limiting circuit lets you record a hotter signal without fear of clipping
Comprehensive digital I/O with optical and coaxial S/PDIF (switchable to AES/EBU) and MIDI In/Out to easily connect all of your digital studio gear and instruments
Ultra-low latency Windows XP and x64 USB 2.0 drivers offer accurate timing and playback of your recorded audio and software instruments
Hardware zero-latency direct monitoring (mono/stereo) allows you to record and overdub with no annoying delay
Plug-and-play operation with hands-on control of all major functions like master level, direct monitoring, preamplifier controls and more
Compatibility with most popular audio/sequencer applications (ASIO2, WDM, MME – AC3 and DTS Passthru supported)

How to ReWire Reason with Ableton Live, and why?

2011-01-21T23:59:00.000+08:00

How to ReWire Reason with Ableton Live, and why?

January 27, 2009

Ableton Live is a professional loop-based software music sequencer for Mac OS and Windows by Ableton. The latest major release of Live is Version 7.
Unlike other software sequencers, Live is designed around the notion of being as much an instrument for live performances as a tool for composing and arranging. It is also often used for precision mixing of tracks by DJs.
If you have never used Ableton before, it can dratically change your music creation technique nevermind your outlook!.
Using Ableton Live, you can integrate audio recording, loops and samples with your Reason projects. This is done by ReWiring Reason with Live.
This gives you acces to some of the best control AND the best sounds!

Install Live on your computer.
Launch Live so that it can install its ReWire engine in your system.
Go to Live’s In/Out View and select Reason as the “In Type.”
Enable Live’s Monitoring switch.
Launch Reason.
Select the desired ReWire Channels in Live’s In Channel menu if you have devices in Reason routed to channels other than the Mix L & R Channels.

Sending MIDI from Live to Reason:

In a MIDI Track in Live, select Reason as the output type in the in/out chooser.
In the output channel chooser of the same Track, select the desired Reason device.

Notes:

Reason is now in ReWire Slave mode; Live is the ReWire Master.
Reason will lock to the Live tempo and transport with sample-accurate synchronization. If you change the tempo in Live, Reason will follow.
You can record the Reason ReWire input in Live as you would with any other input in Live. (Please see the recording section of the Live manual).
To disconnect the ReWire connection you must always quit Reason first.

Radiohead Live Setup revealed!

2011-01-21T23:57:00.000+08:00

Radiohead are currently on a world tour in support of their latest album entitled In Rainbows. For their very intricate live shows the band and their technician, Russ Russell, have turned to Kontakt 3.

Radiohead Live

Russ’s workplace comprises of an Apple Macbook Pro that sits on a rack of daisy-chained audio interfaces. The computer receives MIDI from two keyboard stations on the stage, operated by band members (and brothers) Jonny and Colin Greenwood. They play their parts on their respective controller keyboards and MIDI floorboards.
On his computer, Russ runs Kontakt 3 as the main instrument for all sample-based sounds in the show. Both keyboard stations are routed to Kontakt, with each song having its own monolithic multi. “Kontakt is great to work with”, says Russ. “It has allowed us to completely get away from all the frustration of hardware samplers. Editing and importing becomes quicker and easier, which allows the band to make changes or try new ideas without delay or fuss.”
Russ switched Radiohead’s setup to Kontakt during the preparation for the 2008 world tour. “The band wanted to replace some old hardware from previous tours and consolidate those sounds into one central system.
For the live versions of the songs on ‘In Rainbows’, I worked with Kontakt. I used material from the studio production, and I also adapted some sounds from the Kontakt library – the Crumar Orchestrator gets quite a bit of use. After that, I basically went through the entire Radiohead catalogue and converted all the old sample material for Kontakt. I sampled a few hardware instruments and created multisamples. It’s just made the organisation of all the keyboard sounds so much easier.”
During the show, Radiohead play all songs entirely live – no backing tracks or sequencers are used except for songs with a more electronic aesthetics, such as “15 Step”, where synchronised percussive loops are triggered in real time by Colin and Jonny. In addition to playing sounds on Russ’s computer via his controller, guitar and keyboard player Jonny Greenwood operates a mixture of analog devices and his own laptop. During the show, Jonny manipulates the synths and outboard devices by hand and foot.
Bass player Colin Greenwood uses more of a conventional setup for his keyboard parts, comprising a controller keyboard and floorboard. All the changes in sound selections during or in between songs are operated directly by Russ, including some sounds from Pro-53 and other software synthesizers.Learn more about the amazing Kontakt 3 Software Sampler here

View Images (click to enlarge):

Radiohead Kontakt 3 setup

Kontakt 3 in use

Jonny Greenwood Setup

www.radiohead.com

Kanye West – This is how he does it.

2011-01-21T23:55:00.000+08:00

During the past eight years, the 26-year-old has racked up triumphs with such big-money movers as Jay-Z, Foxy Brown, Nas, Alicia Keys and Eminem. How does he do it? Not with any Digidesign Pro Tools or Emagic Logic rig, that’s for sure. “I don’t use a computer or a lot of equipment in my studio,” West declares.

“What do I need all that stuff for?”

West uses four primary pieces for sampling, sequencing and recording duties: An Ensoniq ASR-10 keyboard, an Akai MPC2000 MIDI Production Center, a Roland VS-1880 24-bit Digital Studio Workstation and a Gemini PT-1000 II turntable.

One of West’s trademarks, besides classic ’70s soul loops, is ample use of speed. Almost every other track on The College Dropout features a sped-up vocal sample, be it Dinah Washington on “The Good, the Bad and the Ugly” or Chaka Khan on “Through the Wire.”

Kanye’s use the MPC sampler is inspiring. For all the musicians who wrestle with PC’s his process is liverating to watch.

“I sample them at regular speed, then speed them up inside the ASR-10,” he explains. “I just put the pitch up on the sampler, and it will go faster. The ASR-10 is like my left hand. I can chop samples into 61 pieces without wasting any memory. A lot of old songs are too slow to rap on. So I got to speed them up to a rappable tempo.”

Crag Bauer had this to say about him. “Well, Kanye takes the word meticulous to a whole a new level. The way he works he just isn’t content until he’s tried recording and mixing a song every conceivable way. I was getting calls from A&Rs in July saying, “We have to stop him. We have to cut him off because he’s going to miss another release date.” And my response was always like, “Well you guys have to tell me what you want me to do.” And that call saying, “OK, you’re done, send it in,” would never come. Nobody from the record company tells Kanye anything. To the point where he was in mastering at Sony in New York and ended up booking studio time to do some more recording during the mastering process. In fact, story has it that during the mastering he was listening to the final version with Jay-Z and LA Reid from beginning to end. After they finished listening to the album, Jay-Z and LA Reid both were talking about how much they loved it and Kanye said, “It’s not even done.” And they both were like, “OK. Do what you’ve go to do.” So he kept on going and my belief is that he would have kept on going forever if it wasn’t for the fact that the timing of the release coincided with the MTV Video Music Awards.

Akai MPC1000

Production power, on the move. Inheriting all the essential features which make the MPC series so iconic, the MPC1000 is not only a perfect complement to its larger MPC siblings, but a powerful Music Production Center in its own right. The MPC1000 combines a 64 Track MIDI Sequencer and a 32 voice Stereo Digital Sampler, with 16 velocity…

Akai XR20

The AKAI XR20 BEAT PRODUCTION center. Superb controller, the power of MPC creativity for your own sequencer. The AKAI XR20 is a portable beat production center loaded with a sound set that is geared towards making hip hop and R&B beats wherever and whenever inspiration strikes. The XR 20 has over 700 pre-loaded sounds and an integrated effects engine.

Akai MPC5000

The Akai MPC5000 is the first MPC ever to include 8-track streaming hard disk recording, a 20-voice, 3-oscillator analog synthesizer with arpeggiator, a new sequencing engine with 960 ppq resolution, pad and track muting and mixing, 64 continuous sample tracks. In addition, the AKAI MPC5000 features a 64-voice drum/phrase sampler with 64MB memory Ð expandable up to 192MB.

Technics SL-1210MK2 (Single)

The Technics SL1210 Mk2 is the established DJ turntable, with solid build, high torque motor and stable tone arm. The legend itself, the SL-1210MK2, which is featured in the Science Museum in London as one of the pieces of technology that have shaped the World we live in. Overwhelmingly favoured by professional DJs the SL-1210MK2′s precision moulded diecast cabinet and…
Source:
http://remixmag.com/mag
http://www.eqmag.com/

How to be a Laptop DJ

2011-01-21T23:53:00.000+08:00

A Few Things To Get You Going

You can start with pretty much right away with the right software and your laptop but to benifit from hardware mixing (most DJ’s usually would prefare this) Your laptop needs at least two separate stereo audio outputs. With an internal mixer, or mixer inside the software, one stereo signal will be the cue and the other will be master out. With an external mixer, or hardware mixer at the club, there will be a separate stereo signal for both tracks. Some software packages allow more than two tracks to play at once. As few laptops come with a multi-channel soundcard, an external soundcard is essential. There are several USB soundcards for less than $200, such as the M-Audio Fast Track Pro and Numark DJ I/O. FireWire soundcards can offer higher sound quality at a higher price; Presonus and Echo make excellent FireWire options, and if your laptop has a PC Card slot, the Echo Indigo DJ is another great option. There are also controllers equipped with soundcards, such as the DJ Console Rmx, Omni Control, VCM-100 and M-Audio Xponent.

Laptop Capacity

With large laptop internal hard drives, you can store thousands of 320-bit MP3s (though many DJs use only larger-size CD-quality WAV or AIFF files). Video files take up much more space (normally 50 MB per minute for usable quality), so an external hard drive is essential. Sending video signals also takes more bandwidth than audio, so while a USB 2.0 drive is good for audio, FireWire 400 or FireWire 800 are better connections for video. Some people like eSata drives for quicker connection speeds; my tests showed little improvement over FW800 to justify the complicated setups and quirks of eSata. For video drives, pay attention to drive speed (7200 RPM is essential), chip set (Oxford allows for quick read/write and multistreams) and buffer (bigger is better — go for 16 MB or 32 MB). The 500 GB external drives have fallen to low prices now, and terabyte drives are coming down in price. My LaCie Big Disk Extreme and the ultraportable Newer Technology Ministack quadInterface 1 TB drives have performed well.

Pre Buy Tips

Before buying a laptop, think about the external hardware you’ll use. External ports can be a deciding factor; the correct amount and type of connectivity may affect which laptop you purchase. You will need a USB 2.0 port for the controller, a USB 2.0 or an FW400 port for the soundcard, an FW400 or FW800 port for the external hard drive and possibly additional ports for powering other external devices or simply for a travel mouse. Whatever minimum memory and storage specifications are given for the software you choose, double it — especially if you plan to mix music videos.

You should use your performance laptop only for performance because once you’ve got it running and stabilized, there is no need to mess things up with outside programs, new untested configurations and so on. Programs don’t always play nicely together, and spinning at a club isn’t the best time to discover that.
The Right Accessories

The right accessories will ensure that your laptop setup runs flawlessly. A solid surge-protector strip should be in your bag because many DJ booths don’t have enough free outlets. Ground-lift adapters (outlet converters) are also necessary to have on hand in case a mysterious power hum appears — you never know how a club is wired. And carry gaffer tape to secure your cables that could be knocked out during an absentminded moment or by an overenthusiastic fan.

FaderFox Modules fit right over your laptop!

The right laptop stand will save space and your back from continuous hunching-over. The Stanton Uberstand folds up to the size of a record and flips into a three-tier stand to either slide over unmovable turntables or provide three levels (controller, soundcard, laptop) to make efficient use of space. A padded laptop bag big enough to hold everything is also essential. Manufacturers are tailoring bags to hardware/software setups (see “Grab a Fat Sack,“ page 12). If you fly, double-check the size restrictions for carry-ons; you surely do not want to check your laptop. When flying, be prepared to take out the laptop, controller and hard drive for separate scanning. Large electronic devices often trigger TSA scrutiny.

Testing. 1. ..2.. 3…

After you’ve ripped your content, you should spend some time testing and practicing. Time is always an issue, so first make sure to time yourself putting together and tearing down the system. Run it live at home and practice using it live. Make some mix CDs to hear how it sounds. Are there glitches and skips? Refer back to message boards for optimal settings (especially for latency).

Like the first time you used CDs, it will take time to get used to and feel comfortable spinning in this new way. Laptop DJing offers many additional options and features, so take the time to dive deep into it. Get to know your controller intimately — it’s your connection to the crowd because it will allow you to perform all the tricks and techniques that make you unique.

If you are spinning music videos, you need to master mixing not only the music but also the video. Alternating between different transitions/wipes will keep your performance fresh; don’t use the same one each time. Another consideration is whether or not the software automatically triggers visuals for songs that don’t have videos. Will you handle that by switching to a separate visual source?

While you are testing, set up a playlist to run for several hours; if you are going to spin a six-hour set, then have the system run to ensure its stability. See what happens if a piece of gear gets unplugged. Test if or for how long the system can run without power. Get to know your entire system like a single piece of gear; there will always be some unique things that happen that you’ll have to figure out on the fly. Also, other DJs, club staff and interested spectators will ask all kinds of questions about your setup.

Going live

When it’s time to finally gig, arrive early for a complete soundcheck. The first time you set up, you’ll run into some hitches, so allow a lot of time to work through them. Carry a list of all the gear in the bag to ensure that what comes out also goes back in.

For backup, cue up an emergency CD or iPod to go at a second’s notice. Scotty B from Promo Only uses an iPod with a preprogrammed set in case of emergencies. The fear of dead air scares many DJs from going laptop, and after six years of laptop DJing I still carry a backup CD. There have been three times when the power cables came out or the power went down.

The most cutting-edge technology will not make you a great performer, but the power of computer DJing gives you more tools to put on a great show. If you just stand there pressing the Sync key between loading tracks, that’s not really a show. Practice your skills, read the audience, program the best content and have fun. Remember, as the entertainer, it’s your responsibility to bring the party.

Source:http://remixmag.com

Artist Profile: Deadmau5

2011-01-21T23:50:00.000+08:00

If you are Joel Zimmerman, aka Deadmau5, your very own giant-eyes-strobing Mau5head is just one sign of your increasing popularity and power. The 28-year-old Toronto native wields the Mau5head like some Daft Punkgenetic mutation, but his music is anything but derivative. Deadmau5′s second artist release, Random Album Title (Ultra, 2008), confirms Zimmerman’s growing rep (as if his numerous Top-10 singles and globe-hopping club schedule didn’t) as a shape-shifter of enormous melodic progressive trance skill.

Mystery Achievments

“I am big fan of mystery pedals,” Zimmerman says from a San Francisco hotel at the start his latest world tour. “I like those gray tin boxes with knobs, and you don’t know who made it or where it came from. I find them in these shops in Toronto where they sell these strange pedals. You just feed something in, and it comes out sounding a lot different.”

Soft synths be damned, Zimmer-man uses a combination of Minimoog Voyager, Moog Little Phatty, Minimoog, Roland Juno-106 (“the chorus is crazy”), Sequential Circuits Prophet T8 and “a cool German one called ‘MSB synth.’”

“I am hard-pressed to listen to any piece of music and know exactly what they are using unless it is obvious presets, which does happen a lot in electronic music,” Zimmerman muses. “But the whole thing with analog versus soft synth sounds: You can totally synthesize everything and have it sound different depending on how you process it. I’ve spent money getting a sound that was probably very achievable by doing something else, but I like a knob in my hand. Not so much the mouse and drawing. The filter sweeps and the crazy synth rises in my music — it’s all handcrafted. I turn the knob. You can hear the mistakes. They’re not mistakes, but you will hear it dip and rise accidentally if I wiggle my hand.”

Those wiggles can be heard in “Sometimes Things Get, Whatever.” After a breakdown, an ugly Moog Voyager line rises like a grinning, ghoulish monster. “You can’t get that by drawing a line from zero to 127 in Ableton,” Zimmerman declares. “It’ll just be perfect. I like using hardware and mystery pedals and crazy LFOs that aren’t bang-on synced with the application. A lot of my LFOs I guessed at or got it as close as I could and cut it later.”

The Maus and the Moogfooger
Moogerfoogers — all of them — figure prominently in the Deadmau5 aesthetic. As with his Moogs, Mau5head and Monome 256, Deadmau5 refuses to leave anything alone, befitting his early years as a programmer.

“I have three MF-107 FreqBoxes and doubles of other Moogerfoogers for stereo,” Zimmerman says. “The 107 is an FM modulator that takes in a carrier or outputs an oscillator. It’s really neat. The idea with the Moogerfoogers was to build a modular system, so you could spend two hours wiring to get one sound, but you can never get it back. The only way to save a preset is take a photo. But it is nice to make one feature sound for the whole track. The sound in ‘Hi Friend’ is that, a chirp, or noise on every upbeat. That was the result of me mucking around with the Moogerfooger and running an oscillator through another synth through it. It’s a great sound.”

Deadmau5 uses multiple sequencers, including Ableton Live,Propellerhead Reason, Steinberg Cubase and FL Studio. D.I.Y. seems to be the Mau5-mantra, using whatever works to make his music unique. “I use Fruity Loops ’cause it’s really quick for some things,” he explains. “The piano roll is so fast, and drawing in notes in Ableton or Cubase seems like such a chore by comparison to FL Studio. I use Reason for its effects and embedded instruments because they don’t support VST, but I ReWire it if I want to use the Thor or Subtractor synths. They’re just extra toys to throw in the mix and make little clips that you can add to your production.”
DEADMAU5 LIVE

Speaking of toys, the Mau5head is yet another element in the Deadmau5 arsenal; it lets the naturally shy Zimmerman hide out incognito. Of course, the Mau5head’s strobing eyes are the result of tinkering.

“There is a guy named Bert Schiettecatte who founded Percussa ( article coming soon on these), a music hardware and software company whose first product is AudioCubes,” he explains. “The cubes by themselves interact with each other and trigger different clips or patterns via proximity or color, and there are a couple of LEDs inside. I had the wiseass idea to buy a couple cubes, rip them apart and use the LEDs in the chipset and put them in the eyes of the Mau5head. My head is USB powered, which is perfect. I do light sequences that are in time with the music. They are controllable through MIDI, so I just chose different sequences from the [JazzMutant] Lemur to tell Live to send MIDI to the AudioCubes that light up in my head. They match the music; I write little clips that match the song.”

In similar deconstruction fashion, Deadmau5 uses a Monome 256 as a controller to do everything from creating beats to executing manic melodies. The Monome 256 ships sans manual, diagram or instructions of any sort — all the better for the enterprising Mau5 among us.

“You have to make it work for you,” Zimmerman says. “You can’t just take it out of the box and go to town on presets. But you treat it like any other device that triggers another application. Basically, you freestyle and hammer away at any of the 256 buttons to trigger a sound like a drum kit into Ableton Live. But for the techno, you will want to have that sequence in a way that things get quantized and maybe have an LED row scroll back and forth and do a certain sequence of sounds, perhaps over a bar in a loop, and you want to be able to use other keys to modify that loop to have it play in reverse order or random order or whatever. It all comes with the development of custom VST software that communicates to the device before the device communicates to Ableton Live to trigger these sounds. So my partner in crime, Steve Duda, has come up with Molar; it’s a VST port of a Max/MSP replacement for the Monome 256 for Ableton Live. It lets you re-chop, re-sequence, re-slice a wave loop or trigger one-shots or send MIDI notes. You would never rig it up the same way twice, which is fun.”

The Mau5 Muses
Where does a successful Mau5 go from here? Zimmerman has plans to further alter his live DJ experience, and his ongoing collaborations with WTF? and BSOD (with Steve Duda) keep his head spinning. Otherwise, Zimmerman’s diet of Coke Classic (one case per track) should keep him energized enough to do battle with any DJ foe or Energizer Bunny.

“I’ve got the world’s only MIDI-controllable mouse head, so that’s cool,” he says with a laugh. “I want to start including more cool gear that interacts with the sound and the audience. But as far as defining my sound or popularity, maybe it’s the head. I don’t know what it is. I don’t want to look a gift mouse in the mouth.”

‘Random’ album equipment
Computers, DAW/recording software

Ableton Live software

(2) Apple MacBook Pro

Custom PC: Quad Core 3.2 gig Intel CPU, Alesis motherboard, 5 TB hard drive

FL Studio software

Steinberg Cubase software
Synths, software, plug-ins

Moog Little Phatty, Minimoog and Minimoog Voyager synths

Native Instruments Reaktor, Kontakt, Battery and Traktor software

Propellerhead Reason Thor and Subtractor soft synths

Roland Juno-106 synth

Sequential Circuits Prophet T8 synth
Effects

Moog Moogerfoogers: MF-101 Low Pass Filter, MF-102 Ring Modulator, MF-103 12-Stage Phaser, MF-104Z Analog Delay, MF-105 MuRF, MF-107 FreqBox, CP-251 Control Processor
Controllers, DJ mixer

Allen & Heath Xone: 4D DJ Mixer and Controller

JazzMutant Lemur

Monome 256

Percussa AudioCubes

Pioneer DJM-800 DJ mixer

Monitors
Genelec 8050As

Source: Remix

Have you got GAS? (Gear Acquisition Syndrome)

2011-01-21T23:46:00.000+08:00

Have you got GAS? (Gear Acquisition Syndrome)….I know have! The term “GAS” was coined by Walter Becker in 1996 in his article G.A.S. in Guitar Player as “Guitar Acquisition Syndrome”. The term started to be frequently used by guitarists and spread out to other people of creative professions who were familiar with similar tendencies. As it no longer concerned guitars only, GAS became a backronym for “Gear Acquisition Syndrome”.

GAS is NOT the same thing as collecting. In fact, many people find that the collecting of instruments is as much a joy as playing them (particularly if you have the financial means to collect).

GAS differs in that the compulsive need to “tweak your rig” supersedes the desire to improve as a player, compose music, record, (and if you have aspirations of playing professionally) seek gigs. Another common trait of a GAS-inflicted individual is the tendency to impulsively trade in a perfectly good piece of equipment for a seemingly more desirable piece of equipment (often at a loss of money) and later regret the transaction. Remember also GAS is highly contagious, however particulary amongst guitarists!

According to Wiki ” GAS is similar in many ways to very mild obsessive compulsive disorder.” GAS hasn’t received any major medical attention as GAS is not a clinical, but a psychological condition. Dear me, worring thought that! So to avoid ‘Gear Acquisition Syndrome’ one needs to stop “trial and error” purchases and save money and hassle by making educated purchase.

The goal here is to get stuff that you’re happy with and makes you sound good… not stuff you’ll wanna sell on in six months.

It’s all about product research and that’s what we at Dolphin Music are here to help YOU with! What are your thoughts on this subject??

Do any of our readers suffer from GAS??

We would be keen to hear about your problems and let our specialists diagnose the right solution to you.

Send us an email to media@dolphinmusic.co.uk or give us a call and speak to one of our trained specialists to advise you on your next purchase.

Source:

http://www.harmony-central.com/Guitar/Articles/Avoiding_GAS/ http://en.wikipedia.org/wiki/Gear_Acquisition_Syndrome