Kim Cascone Aesthe cs of Failure and Glitch Music – We therefore invite young musicians of talent to conduct a sustained observation of all noises, in order to understand the various rhythms of which they are composed, their principal and secondary tones. By comparing the various tones of noises with those of sounds, they will be convinced of the extent to which the former exceeds the latter. This will afford not only an understanding, but also a taste and passion for noises. — Luigi Russolo (1913)
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Sunday, December 8, 13 “At some point in the early 1990s, techno music settled into a predictable, formulaic genre serving a more or less aesthetically homogeneous market of DJs and dance music aficionados. Concomitant with this development was the rise of a periphery of DJs and producers eager to expand the music’s tendrils into new areas. One can visualize techno as a large postmodern appropriation machine, assimilating cultural references, tweaking them, and then representing them as tongue-in-cheek jokes. DJs, fueled with samples from thrift store purchases of obscure vinyl, managed to mix any source imaginable into sets played for more adventurous dance floors. Always trying to outdo one another, it was only a matter of time until DJs unearthed the history of electronic music in their archeological thrift store digs. Once the door was opened to exploring the history of electronic music, invoking its more notable composers came into vogue. A handful of DJs and composers of electronica were suddenly familiar with the work of Karlheinz Stockhausen, Morton Subotnick, and John Cage, and their influence helped spawn the glitch movement.” - Kim Cascone, Aesthetics of Failure
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Sunday, December 8, 13 Glitch Music
• Chris an Marclay
• Pansonic / Mika Vainio (Finnish) (1995) • Oval (German) • Ryoji Ikeda (Japanese) • Carsten Nicolai – Noton / Rastermusic
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Sunday, December 8, 13 IDM
• From IDM mailing list on Hyperreal.org and Warp Records Ar ficial Intelligence Series featuring Aphex Twin, LFO, Autechre etc.
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Sunday, December 8, 13 Aphex Twin
• 2 Analogue Bubblebath EPs 1991-1993 • Selected Ambient Works 85-92 on R&S Records (1992) • 1995-1999 Jungle/IDM/DSP stage • Come To Daddy (1997) #36 on UK Charts • Windowlicker (1999) #16 UK Charts • Two pop singles using DSP heavily
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Sunday, December 8, 13 How did Stockhausen feel about Aphex Twin’s music and vice versa? (From the Wire’s “Advice for Clever Children” reading)
What are some legal cases, precedents or laws involving sampling? Describe some from the sampling reading.
Why does Bob Ostertag think computer music sucks? (From the “Why Computer Music Sucks” reading)
Sunday, December 8, 13 Stockhausen v.s. Aphex Twin (from Wire’s “Advice for Clever Children”)
“I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work Song Of The Youth, which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repe ons, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were varied to some extent and if it did not have a direc on in its sequence of varia ons.” - Stockhausen
“Mental! I've heard that song before; I like it. I didn't agree with him. I thought he should listen to a couple of tracks of mine: "Didgeridoo", then he'd stop making abstract, random pa erns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline” – Richard D James aka Aphex Twin
Sunday, December 8, 13 Stockhausen on Repe on, Aphex Twin and Richie Haw n
“I wish those musicians would not allow themselves any repe ons, and would go faster in developing their ideas or their findings, because I don't appreciate at all this permanent repe ve language. It is like someone who is stu ering all the me, and can't get words out of his mouth. I think musicians should have very concise figures and not rely on this fashionable psychology. I don't like psychology whatsoever: using music like a drug is stupid. One shouldn't do that : music is the product of the highest human intelligence, and of the best senses, the listening senses and of imagina on and intui on. And as soon as it becomes just a means for ambiance, as we say, environment, or for being used for certain purposes, then music becomes a whore, and one should not allow that really; one should not serve any exis ng demands or in par cular not commercial values. That would be terrible: that is selling out the music.”
Sunday, December 8, 13 “I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work Song Of The Youth, which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repe ons, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were varied to some extent and if it did not have a direc on in its sequence of varia ons.”
Sunday, December 8, 13 And the other composer - musician, I don't know if they call themselves composers...
They're some mes called 'sound ar sts'...
No, 'Technocrats', you called them. He's called Plas cman, and in public, Richie Haw n. It starts with 30 or 40 - I don't know, I haven't counted them - fi hs in parallel, always the same perfect fi hs, you see, changing from one to the next, and then comes in hundreds of repe ons of one small sec on of an African rhythm: duh-duh-dum, etc, and I think it would be helpful if he listened to Cycle for percussion, which is only a 15 minute long piece of mine for a percussionist, but there he will have a hell to understand the rhythms, and I think he will get a taste for very interes ng non-metric and non-periodic rhythms. I know that he wants to have a special effect in dancing bars, or wherever it is, on the public who like to dream away with such repe ons, but he should be very careful, because the public will sell him out immediately for something else, if a new kind of musical drug is on the market. So he should be very careful and separate as soon as possible from the belief in this kind of public.”
Sunday, December 8, 13 Aphex Twin on Song Of The Youth
Mental! I've heard that song before; I like it. I didn't agree with him. I thought he should listen to a couple of tracks of mine: "Didgeridoo", then he'd stop making abstract, random pa erns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline. I know it was probably made in the 50s, but I've got plenty of wicked percussion records made in the 50s that are awesome to dance to. And they've got basslines. I could remix it: I don't know about making it be er; I wouldn't want to make it into a dance version, but I could probably make it a bit more anally technical. But I'm sure he could these days, because tape is really slow. I used to do things like that with tape, but it does take forever, and I'd never do anything like that again with tape. Once you've got your computer sorted out, it pisses all over stuff like that, you can do stuff so fast. It has a different sound, but a bit more anal…
I don't think I care about what he thinks. It is interes ng, but it's disappoin ng, because you'd imagine he'd say that anyway. It wasn't anything surprising. I don't know anything about the guy, but I expected him to have that sort of a tude. Loops are good to dance to...
Sunday, December 8, 13 Ableton Beatrepeat DB Glitch Sugarbytes Electrix and Ar llery Livecut Supatrigga Buffer Override Plenty of MaxMSP scripts BB Cut Supercollider KYMA Reaktor x The Finger 12
Sunday, December 8, 13 h p://www.youtube.com/watch?v=V1nJVWd3ivI&feature=related
h p://www.youtube.com/watch?v=wUYpLrTqzb8
h p://www.youtube.com/watch?v=4yqM3dAqTzs
Chris an Marclay h p://www.youtube.com/watch?v=4yqM3dAqTzs Oval h p://www.youtube.com/watch? v=bG5jqcDhmBE&feature=related
Sunday, December 8, 13 The Amen Break
-"a six-second clip that spawned several en re subcultures.” -Drummer Gregory Cylvester “G. C.” -“Color Him Father” 1969 B side “Amen, Brother” by The Winstons - Ubiquitous and part of the collec ve audio unconscious -www.amenbreakdb.com “The break that’s been sampled so much it needs a database”
Sunday, December 8, 13 The Amen Break
-"a six-second clip that spawned several en re subcultures.” -Drummer Gregory Cylvester “G. C.” -“Color Him Father” 1969 B side “Amen, Brother” by The Winstons - Ubiquitous and part of the collec ve audio unconscious -www.amenbreakdb.com “The break that’s been sampled so much it needs a database”
Sunday, December 8, 13 Jungle / Drum&Bass Music
• Originated in UK, in the early 90s. • Fusion of Breakbeat Hardcore, house, hip-hop, reggae, techno, dub. “Jungle Techno” • Origin of name debatable. Club named “Jungle” in the UK, term Junglist used in Jamaican music/toas ng • Generally characterized by breakbeats at around 160-180BPM
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Sunday, December 8, 13 Jungle / Drum&Bass Music
• "There was a progression as far as the speed of music is concerned. Anyone buying vinyl every week from 1989 to 1992 no ced this.” – Producer C.K. • DJ Hype mixes house and Hip-Hop at 45RPM (130BPM house would become 175.5BPM) • - More jungle breaks other than the Amen • h p://www.junglebreaks.co.uk/breaks.html • - 95-96 BBC Radio One “One in the Jungle” show Friday Night prime me spot • Jaguar Skills 20 years of Drum and bass mix in 60 minutes
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Sunday, December 8, 13 Jungle / Drum&Bass Music
• Towards late 90s there was a shi towards sleeker, more polished produc on with less emphasis on breaks and the term Drum and Bass became prevalent • Tech step: Ed Rush, Op cal, Bad Company • - Roni Size, Krust and Die • - Late 90s labels like No U-Turn, V Recordings • Use of Wobble Bass in sub-genre Jump-Up Drum&Bass • Decline of Jungle/Drum & Bass in favor of UK Garage then Grime/Dubstep • Dispropor on of male to female visitors • 17
Sunday, December 8, 13 Genres are based on the principle of repe on. They codify past repe ons; They invite future repe ons. From Grove Online Above From Bruno Ruviaro’s Stanford Class
Genre is a classifica on of music as belonging to a set. Since Aristotle Classifica on of art Manageable and persuasive Can shape/affect our experiences. For example, value judgements based on genres. THE COOL NEW GENRE MAN THAT OLD GENRE IS PLAYED OUT But for something to be classifiable we have to render it homogenous Genres don’t necessarily exist only in the music itself but also social/behavioral/ideological domains
Sunday, December 8, 13 “Four to the Floor” (4/4 kick drum pa ern) Quan za on and the Grid
Techno, House, Happy Hard-core and Gabber (Hubber)
4/4 clap pa ern used o en in Hip Hop / Trap / club music especially for easy DJ intro
Sunday, December 8, 13 Gabber from Ro erdam in the Netherlands. Amsterdam slang for homie. Use of hard HOOVER sound. VIMEO Soulwax slowed down gabber sounds like today’s electro-house...
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Sunday, December 8, 13 Electro Funk & Miami Bass
• Electro/Freestyle Electro-Funk/Boogie: Monotone/overprocessed vocal delivery – Science fic on themes/vocoder – Afrika Bambataa – Planet Rock (sample of Trans- Europe Express) – Kra werk – Egyp an Lover – Juan Atkins & Richard/Rick Davis as Cybotron (Detroit Techno)
Sunday, December 8, 13 Electro Funk & Miami Bass
• Electro/Freestyle Electro-Funk/Boogie: Monotone/overprocessed vocal delivery – Science fic on themes/vocoder – Afrika Bambataa – Planet Rock (sample of Trans- Europe Express) – Kra werk – Egyp an Lover – Juan Atkins & Richard/Rick Davis as Cybotron (Detroit Techno)
Sunday, December 8, 13 Electro Funk & Miami Bass
• Miami Bass/Booty Bass/Booty Music: - a “type of hip-hop music” - higher tempos, o en around 130BPM - use of 808 bass drum - o en sexually explicit lyrics - Maggotron & 2 Live Crew (Luther “Luke Skyywalker” Campbell and David Hobbs “Treach DJ Mr. Mixx”)
Sunday, December 8, 13 Bal more and Jersey Club Music
- Originated from Bal more in the 80s - Around 130BPM - Pioneered by DJs like Luke Skyywalker, Sco e B, Rod Lee, Shawn Caeser, etc. - Bass Drum pa ern in 16-step step sequencer
- O en Lyn Colins - Think breakbeat
Rod Lee – Dance my Pain Away Jersey Club/Brick City Club
Sunday, December 8, 13 Bal more and Jersey Club Music
- Originated from Bal more in the 80s - Around 130BPM - Pioneered by DJs like Luke Skyywalker, Sco e B, Rod Lee, Shawn Caeser, etc. - Bass Drum pa ern in 16-step step sequencer
- O en Lyn Colins - Think breakbeat
Rod Lee – Dance my Pain Away Jersey Club/Brick City Club
Sunday, December 8, 13 Jungle / Drum&Bass Music
• "And then garage came along: the death knell for drum and Bass. It was the new drum and bass. It was the biggest kick in the teeth for us ever...Yeah! They had all the girls, it was where all the girls from the jungle scene had gone. drum and bass was at its worst." - Fabio
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Sunday, December 8, 13 2-Step / UK Garage
- Began in the UK in the mid 90-late 90s - “Garage’ is one of the most mangled terms in dance music. The term derives from the Paradise Garage itself, but it has meant so many different things to so many different people that unless you’re talking about a specific me and place, it is virtually meaningless.” – Last Night a DJ Saved my Life (Book)
Sunday, December 8, 13 2-Step / UK Garage
- In US, garage came to describe more soulful, gospel inspired style of disco/house music played by Tony Humprhies Club Zanzibar in New Jersey. Paradise Garage was a NY club but had a strong bond with Zanzibar. The term was related to a rawer, “blacker” sound.
Sunday, December 8, 13 2-Step / UK Garage
- Early on, UK Garage was called the Sunday Scene because more popular music was reserved for Friday and Saturday - Played at alternate rooms at Jungle/Drum&Bass events - First UK Garage song debatable - Armand Van Helden remix of CJ Bolland – Sugar is Sweeter - Armand Van Helden remix of Toris Amos Professional Widow - Double 99 – RIP Groove
Sunday, December 8, 13 2-Step / UK Garage
- MJ Cole - Sincere drum pa ern
- Burial - Archangel Drum pa ern - this is arguably a garage like pa ern, but this was the kind of music filed at Turntable Lab 2007 under Dubstep
Sunday, December 8, 13 Vogue, Vogue House, Ball Room Club Vogueing History of drag balls go back to 1930. “Spectacles in Color” - Langston Hughes Forgo en part of Harlem Renaissance Cashmere Cat, Night Slugz, Azelia Banks
Paris is Burning Movie Malcom MacLaren - Deep in Vogue Madonna Vogue Vjuan Allure, Mike C, Beek,
CVNT Traxx, Divoli S’vere 29
Sunday, December 8, 13 "Black, gay, working class drag queens found themselves estranged not only from their biological families, which were usually intolerant of their choices, but also the ruling cadre of black nationalist leaders, whose increasingly macho 'real man' discourse was popularised by the gangs that multiplied on the streets. With nowhere to turn, they formed their own self supporting gangs, which they preferred to call Houses."
“Throwing Shade” “Reading” "Reading is the real artform of insult," explained Venus Xtravaganza in Paris Is Burning. "You get in a smart crack, and everyone laughs and ki-kis because you found a flaw and exaggerated it then you've got a good read going on… Vogueing is the same thing. Taking two knives and cutting each other up, but in a dance form." This artistic competition born out of adversity draws comparisons with the early days of b-boy culture in the South Bronx, as Robbie Saint Laurent tells Regnault: "I think voguing was probably a gay version of breakdancing in a way. But it was only done pretty much in private. When it was in a club setting, it was more like a duel, people dancing with one another to see who can dance the best."
h p://balls.houseofenigma.com/vogcab_frames.html
Quietus Ar cle on Vogue
h p://boingboing.net/2013/03/06/ballroom.html 30
Sunday, December 8, 13 “When Madonna came out with her hit Vogue you knew it was over. She had taken a very specifically queer, transgendered, Latino and African-American phenomenon and totally erased that context with her lyrics, “It makes no difference if you’re black or white, if you’re a boy or girl.” Madonna was taking in tons of money, while the Queen who actually taught her how to Vogue sat before me in the club, strung out, depressed and broke. So if anybody requested Vogueor any other Madonna track, I told them, “No, this is a Madonna free zone! And as long as I’m DJ-ing you will not be allowed to Vogue to the decontextualized, reified, corporatlized, liberalized, neutralized, asexualized, re-genderized, pop reflection of this dancefloor’s reality!””
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Sunday, December 8, 13 "The music had a certain edge to it, a specific chopping edge that leant itself to the moves."
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Sunday, December 8, 13 h p://balls.houseofenigma.com/vogcab_frames.html
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Sunday, December 8, 13 Masters at Work - Ha Dance “I remember the Pavilion Mon” - from Eddie Murphy Trading Places movie
"The "Ha" is a sample used by Masters At Work, taken from the movie Trading Places. The word "Ha" is in the record itself, accentuated with an effect called a "krash" (a hard hitting effect). So many tracks have used the effect the songs themselves become known as "Ha"-s. " —Vjuan Allure
"A “ha” is another form of vogue beat. There are a couple definitions for it, but one of the most common forms of it is when you transform a mainstream song, a YouTube clip, maybe a commercial or a TV show, and add it (sample it) or turn it into a vogue beat/track. " — B Ames
The Katz Ha
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Sunday, December 8, 13 The Feeling (Cunt) by Rageous Projec ng Kevin Aviance - Cunty
"Cunt is not the derogatory word it appears to be. It is actually one of the highest compliments that someone can give you - meaning fantastic!" — Vjuan Allure
"Cunt is used when you are just feeling your best. Or if something looks or sounds great/amazing." — B.Ames. Quietus Ar cle on Vogue
"Cunt is used when you are just feeling h p://boingboing.net/2013/03/06/ballroom.html35
Sunday, December 8, 13 1 2 3 1 1 2 1 2 3 1 1 2 1 2 3 1
KRASH!!!!!!! HA
TRONCO TRAXX - WALK FOR ME
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Sunday, December 8, 13 Bal more Club Music
- Originated from Bal more in the 80s - Around 130BPM - Pioneered by DJs like Luke Skyywalker, Sco e B, Rod Lee, Shawn Caeser, etc. - Bass Drum pa ern in 16-step step sequencer
1 2 3 4 1 2 3 4 1 2 3 1 2 3 1 2
- Lyn Collins “Think” Break
Sunday, December 8, 13 www.bringinthecats.com the katz KW Griff - Bring in the Katz L-Vis edit and re-issue on Night Slugs
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Sunday, December 8, 13 Jersey Club Music - Same pa ern as B-more, maybe less Think break, more vocal chops - Bass Drum pa ern in 16-step step sequencer
1 2 3 4 1 2 3 4 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 - Every mainstream Hip Hop song is jersey club remixed really quick by people on Soundcloud with 300-3000 plays really fast, then downloaded and incorporated by bigger DJs - Sliink, Nadus, Uniique, Mike Gip - Fake alias wave DJ Yolo Bear, DJ Hoodboi, Trippy Turtle – Yolo Bear same Teedra Moses sample but ... Google Facebook DJ Yolo Bear Cultural Appropria on
Sunday, December 8, 13 • FROM FACEBOOK • What do Trippy Turtle, DJ Yolo Bear, DJ Hoodboi & DJ Funeral have in common besides being "secret" producer aliases? They all make predominantly Jersey Club based music. I know who each and every one of them really are, but I'm not here to be a snitch. They should out themselves voluntarily, or get caught on their own.
There's something inherently racist (*not about the individual's intent, but the collective results) about the fact that they're making Jersey Club and not standing behind their work. For one, it's taking opportunities and even gigs away from real Jersey Club (meaning, club producers who live in New Jersey) artists. These secret aliases are a convenient way to avoid the responsibility of answering for their appropriation of a culture and sound. When Baltimore Club was at its peak worldwide, there were global imitators of course, and some people did it extremely well, sometimes to the dismay and disapproval of Bmore artists, but at least they owned it. These cartoony masked men that have infiltrated the Jersey Club ranks, no matter their intentions, are doing a terrible disservice to the real culture and sound. It wouldn't be such a big deal if Jersey wasn't absolutely reeling from crime and poverty at an all time high. The situation in Newark and surrounding areas is BLEAK...it's awful. (See this interview with Nadus for more info:http:// doandroidsdance.com/features/nadus-interview/ ) 40 Sunday, December 8, 13 Juke / Footwork - South side / west side Chicago mid 90s. OGs remember this from middle school - DJ Deeon, House-o-Ma cs, Ghe o House at 140-150 - 160 BPM - RP Boo, Traxman, DJ Rashad, DJ Clent, DJ Spinn - Ar cle on Juke h p:// nyurl.com/mus6juke
- 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 - Planet Mu, Africa Hi-Tech, Machine Drum - Big in Europe now
Sunday, December 8, 13 UK Future Bass 2009-
• 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 • UK Funky, UK Bass music, Juke/Footwork at 130 territory • do ed 8th emphasis, maybe 16th note swing • Minimal, stripped down • Swamp81 Addison Groove, Night Slugs • Open format DJs Ben UFO, Blawan (techno territory “Why they hiding bodies under my garage”)
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Sunday, December 8, 13 Trap Music • Marching Band rhythms • Southern Hip Hop • Show boyz - Drag Rap (first trap? proto trap?) • Jermaine Dupri, Dungeon Family, Mannie Fresh, Lil Jon, Masta P with Bay area influence • Lex Luger, Drumma Boy • Vybe Sound kit, Lex sound kit • TNGHT (Hudson Mohawke + Lunice), Sinjin Hawke, UZI • Kaytranada, Carmack, Diplo, Djemba Djemba, 43
Sunday, DecemberFlosstradamus, RL Grime, etc. 8, 13 • Meme Sounds • h ps://www.dropbox.com/sh/ nay6kln3jbls h/LmEqnMIWPh
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Sunday, December 8, 13 Modern Music So ware • from my online OSU hip hop class
• Fruityloops / FL Studio: • FruityLoops is used by producers such as 9th Wonder, Lex Luger, Kaytranada, Hudson Mohawke, Jonwayne, Tokimonsta, Elaquent. 9th Wonder was one of the first big Hip Hop producers to come public about using Fruity Loops. • I grew up using Fruity Loops and was embarrassed of it, similar to the company themselves because they would get funny looks at marketing meetings with corporate partners. • I remember back in 2007, both myself and friend/female producer Tokimonsta were very embar rassed of using FL, and even going so far as to lying. At the time, authenticity and the Akai MPC was very important to Hip Hop it seemed. • However today, some of Hip Hop's most prominent producers have been seen in the studio with nothing more than a mouse, a laptop and FruityLoops / FL Studio. • FL's strengths is it's side chaining. • Compression and Side chaining is one of the most important things to learn in production, even if you don't use it, simply for the concept. Side chaining allows one to control one sound with another: for example every time the kick drum hits, it will lower the volume on everything else for a short duration. This is called side chain compression and is heard in everything from Hip Hop beats to Daft Punk, but at varying degrees of how much the song pumps. • Many hip hop patterns and rolls can be learned by watching Fruity Loops videos, because it is focused on step sequencing.
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Sunday, December 8, 13 • Ableton Live: • My choice, due to Max/MSP integration, workflow and live performance paradigms. • Becoming more and more industry standard. • Many rappers are recording their tracks in Ableton, because in the end you are using third party plug-ins that work in any digital audio workstation (DAW), such as Ableton/ ProTools/Logic. Propellorhead Reason: • All the efects, etc. are built in and it did not support 3rd party plug-ins. • Efects like the Scream 4 distortion unit (many diferent types of distortion) keep Reason producers from switching. • Great groove timing engine with ReGroove for expressive micro-timing. You can set individual grooves for each sound as well as shift sounds forwards and backwards. Groove engine used by producers like Dark House Family, Flying Lotus etc. Apple Logic X (Emagic purchased by Apple): • Pure Tuning System is also known as Hermode Tuning takes our regular tuning system (equal- temperament) and adaptively tunes them so that they are closer to just intonation. • Mainly the third and fifths are tuned to be closer to just intonation. (Just intonation visualization) • This creates a sound that is more harmonious. This tends to work more on triads rather than large extended chords. Digidesign Pro Tools: • Industry Standard • Used at major recording studios • Requires Digidesign hardware (their copy protection method) • Used for vocals
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Sunday, December 8, 13