#Mini Moog Voyager

[nwdsc]

(King Klavé | KingKlavéから)

King Klavé by KingKlavé

1. P.I.M.P (Passion, Intelligence, Motivation, Positivity) Jazz - Composed by Amaury Acosta & Mike King, Amaury Acosta- Drums, Chris Smith Bass, Ana Carmela Ramri 2. Osain - Composed by Amaury Acosta & Javier Santiago, Javier Santiago - Synthesizers, Vibraphone, Pino Palladino - Bass, Marcus Machado - Guitar, Amaury Acosta - Drums 3. Déjate De Gracia Conmigo - Basil-Piano, Chris Smith-Bass, Pedrito Martinez- Congas 4. Lala- Mike King - Fender Rhodes, Morgan Guerrin- Soprano Saxophone, Paul Wilson- Synths and effects, Amaury Acosta - Drums, Sitar, Bass, Samples, Vocals 5. Essentials - Amaury Acosta- Fender Rhodes, Drum Programming, Vocals - Amaury Acosta, Chris Smith - Electric Bass, Morgan Guerrin - Tenor Saxophone, P.U.D.G.E.- DJ scratches 6. 5/4 Joint Feat. Joshua Crumbly- Composed by Amaury Acosta & Devonne Harris. Devonne Harris (DJ Harrison) - Fender Rhodes, Piano, Jupiter 80, Mini Moog Voyager, Joshua Crumbly - Fender P Bass, Stacy Dillard Soprano Saxophone, Abdulrahman Amer- Trombone, Amaury Acosta - Drums, Congas, Bongos, Aux Percussion, Snares, 808, Vocals 7. Mad -Amaury Acosta Mini Moog, Metal Percussion, Drums - Amaury Acosta. 8. NYC - Mini Moog, Drums, Auxiliary Percussion, Vocals 9. F*ck the system- Javier Santiago- Piano, Synth lead, P.U.D.G.E.- DJ scratches, Amaury Acosta- Drums, Synth Bass, Korg x 50, Jupiter 80, Samples. 10.Dillacuta Feat. Jake Sherman & DJ Harrison - Composed By Amaury Acosta, Jake Sherman, Devonne Harris. Jake Sherman - Vocoder, Jamal Peoples - Matrix 12, Jupiter 80, Wurlitzer,Devonne Harris (DJ Harrison)- Synth bass, Juno 106, Chris Smith- Electric Bass, Marcus Machado - Guitars, Mauricio Herrera - Congas, Weedie Braimah- Djembe, Amaury Acosta - Drums, Guiro, Cowbells, Clavinet, 808, samples, 11. Soul conga - Devonne Harris (DJ Harrison) - Fender Rhodes, Bass, Stacy Dillard - Tenor Saxophone, Amaury Acosta- Drums, Congas, Tambourine 12. Real Lovin’ Feat. J. Hoard - Composed by Amaury Acosta, Devonne Harris, and Jonathan Hoard. Amaury Acosta - Drums Congas,Fender Rhodes, Synths. Fender Rhodes, MiniMoog, Juno 106, 808, samples and drum programming, Devonne Harris (DJ Harrison)- Guitars, Bass, Clavinet, Organ, Yamaha Dx7, Vocals - J. Hoard 13. Have You Ever Wondered-Mauricio Herrera- Batas, Amaury Acosta- Yamaha CS 80, Vocal 14. Intriga -Amaury Acosta - Drums, Samples, 15. Queen Feat. J. Hoard - Composed by Amaury Acosta & Jonathan Hoard. Amaury Acosta Drums, String Arrangement, Synth Bass, Fender Rhodes, Synths, Keyboards, Mike King-Organ, J. Hoard - Vocals, Dezron Douglas - Electric Bass, 16. Que Viva Cuba libre - Penelope Hernadez - Vocals, Amaury Acosta-Samples 17. Rezo - Mike King- Piano, Michael Valeanu- Guitar, Amaury Acosta - Batas, Strings, Surdo, Chekeré, Auxiliary Percussion, Synth Strings, Weedie Braimah- Djembe, Pedrito Martinez, Vocals All songs Composed, Arranged, Produced, Recorded and Engineered By Amaury Acosta aka King Klavé (unless where noted) Executive Producers: Amaury Acosta, Samir Hall, Paul Wilson P.I.M.P (Passion, Intelligence, Motivation, Positivity) Jazz - Composed by Amaury Acosta & Mike King Osain - Composed by Amaury Acosta & Javier Santiago 5/4 Joint - Composed by Amaury Acosta & Devonne Harris Dillacuta Feat. Jake Sherman & DJ Harrison - Composed By Amaury Acosta, Jake Sherman, Devonne Harris. Real Lovin’ Feat. J. Hoard - Composed by Amaury Acosta, Devonne Harris, and Jonathan Hoard Queen - Composed by Amaury Acosta & Jonathan Hoard Que Viva Cuba Libre - Vocals: Penelopé Hernadez, Amaury Acosta - Samples All Songs Mixed by - Paul Wilson, except Real Lovin’, Real Lovin’ Mixed by - Louis Benedetti Mastered by - Lee Potter at Roc Star Studios, London Artwork by Luis Cruz Azacetta Designed by Alberto Hernadez Executively Produced by Amaury Acosta, Samir Hall, & Paul Wilson Real Lovin’, Drums Recorded at Electric Garden By Ben Kane, Vocals recorded at the Vamp Cave by Aaron “Smitty” Dales in New York City, Djembe on Dillacuta and Rezo Recorded at Art is sound studio by Keenan Mcrae in New Orleans, Louisiana. Organ and fender Rhodes on Queen and Lala Recorded at Thompson Studio By Louis Benedetti in New York City, Dj Harrison Tracks Recorded at Jello Stone Studio in Richmond Virginia. RELEASED EXCLUSIVELY VIA. KLAVÉ'S PARADISE RECORDINGS NYC

[undernoisemagazine]

Moonwalk: l'intervista per Undernoise.it

Moonwalk: l'intervista per Undernoise.it #moonwalk #intervista #interview #stilvortalent #solomun #suara

L’intervista di oggi di Undernoise.it è con il duo, tutto italiano, dei Moonwalk, giovani produttori e dj che da qualche anno si sono guadagnati il supporto da grandi artisti della scena internazionale, portandoli in cima alle charts dei maggiori portali di vendita con i loro lavori pubblicati su label come: Diynamic, Stil Vor Talent, Suara, Tronic, Knee Deep In Sound, Kittball. Moonwalk –…

[thekingofgear]

A Synthesizer to play Radiohead

Originally written in response to the following question, this should serve to answer any synthesizer recommendation inquiries. 

Hello man, amazing work here! I was wondering What synth I could buy to pin down some of their most characteristic synth sounds (Let Down, Everything In It's Right Place, Identikit, Staircase, Myxomatosis, Airbag's "Martenot" [Korg prophecy]). I guess it would be the Prophet 08 but is there some other DSI cheaper ooption. Thanks :D

Thom and Jonny with a Sequential Circuits Prophet 5, Roland Juno-60, and Moog MiniMoog Voyager PE druing the recording of A Moon Shaped Pool. They also used their Dave Smith Instruments Prophet 08 and a Sequential Circuits Prophet 10 during the same sessions.

The synth on Let Down is a ZX Spectrum Computer. Everything in its Right Place is a Sequential Circuits Prophet 5. Staircase was a DSI Prophet 08. The bass on Climbing Up The Walls is an original Novation Bass Station, the bass on All I Need is Nigel’s Prophet 5, and the bass on Lotus Flower is a vintage MiniMoog Model D. The bass sound on Myxomatosis is a resonant monosynth layered with Colin's fuzzy (Lovetone Big Cheese) bass guitar. The pads on Myxomatosis are a web of polysynths and chorus'd string-synthesizers (best heard 2:07-2:25, and in the last few seconds). Identikit's "Broken hearts" section features synths panned left and right, probably a mixture of Prophets. The synthy choir on Motion Picture Soundtrack is a combination of Mellotron and ondes Martenot. Idioteque's "synth" is a sample of a piece (Mild und Leise by Paul Lansky) created a room-sized IBM super-computer. The "synth" near the end of 15 Step is Ed's Autoharp run through his pedalboard. As you note, the Martenot-like synth on Airbag (and Climbing Up The Walls) is a Korg Prophecy.

Thom and Jonny with an ARP 2600, a Roland SH101, and a Clavia Nord Lead 3 during the recording of In Rainbows.

It should be clear that no single synth can come close to replicating all of Radiohead's synth sounds, or even their most distinctive.

First, there's the fact that Radiohead have used a wide range of instruments over the years. Many synths (monophonic ones) are used only for bass sounds, while others (polyphonic) are used only for chordal textures. Others (string synthesizers, vintage samplers) are in different classes altogether. While most are subtractive synthesizers and have similar architecture, most have very distinctive filters. For example, the Bass Station, Roland SH-101 (used during the In Rainbows sessions), and MiniMoog Model D are all similar mono synths, but their filters sound radically different. By far the most significant factor in a subtractive synthesizer's tone is the tone of its filter: regardless of how many oscillators, waveforms, envelopes, and extra features a synth offers, it will always sound like its filter. (This is part of why eurorack is so appealing: you can build a single synth with multiple filters cloned from vintage synths).

But even a digital synth with multiple filter emulations will have trouble replicating many of Radiohead’s “synth” sounds, because they often consist of other instruments layered with synthesizers, such as on Myxomatosis. And that doesn’t even cover the synthy sounds which they’ve sampled or created with other means.

Ed and Phil at Nigel’s old “The Hospital” studio during the recording of In Rainbows. On the right is an ARP 2600, while the stand on the right holds (from top to bottom) an Analogue Systems The Spawn and RS-15 Cabinet, a Korg MS-10, a Sequential Circuits Prophet 5, a PPG Wave 2.2/2.3, and an E-MU Emulator II. The RS15 Cabinet contains an RS200 Sequencer, an RS150 Seq/Switch, an RS340 Gate Delay, and an RS370 Polyphonic Harmonic Generator with RS375 Expander.

That said, Radiohead have used synths by one designer far more than any others: Dave Smith. Between the Prophet 5 and Prophet 08 (plus the Tetras which Thom and Jonny used 2012-2013), his synths have been on more tracks than those from any other brand or designer. While the filter on the Prophet 5 differs somewhat from the Prophet 08 and Tetra, the designs are similar and all use Curtis chips. As such, any one of these synths can do a pretty decent job of replicating the others.

The Actual Recommendations:

You’ll never pin down most of their most characteristic sounds with a single synthesizer, but you will be able to pin down the largest number of their sounds using a Dave Smith Instruments or Sequential Circuits synthesizer. The DSI Mopho X4 is a Prophet ‘08 with half the voices, but added sub-oscillators. The DSI Tetra (discontinued, but readily available on the used market) is the keyboard-less equivalent.

Jonny playing the old Sequential Circuits Prophet 5 during the recording of Man of War in 1998.

The one catch is that Radiohead almost exclusively use DSI and Sequential Circuits synths for polyphonic sounds (All I Need being an exception). The members of Radiohead generally use other synths for bass. For the past six or so years, Thom and Jonny have mainly used a MiniMoog when working with Radiohead. With Atoms for Peace, Thom and Nigel almost exclusively used an old Korg MS20 (best heard on Ingenue). Radiohead also had a Korg MS10 in studio during the recording of In Rainbows. And of course, Jonny has his modular synthesizers for monophonic (as well as polyphonic and rhythmic) sounds.

A good monophonic partner for a DSI polysynth would be the Korg MS20 mini. The MS20 mini is a relatively inexpensive monosynth capably of both traditional synth bass and lead sounds as well as experimental effects. Its pair of filters (high and lowpass) have a lot of character and are capable of smooth bass and intense modulation, and its pathway opens you up to modular synthesis. In fact, if you’re not too concerned with chordal textures, the MS20 would probably be a better starter synthesizer.

Nigel’s synth setup for the 2013 Atoms for Peace tour reflects the keyboards played by Thom and him during the recording of AMOK: DSI Prophet ‘08 for pads, Korg MS20 for bass and leads. The Roland A500 PRO MIDI controller above the Prophet is primarily used to trigger sampled string synthesizers for songs from The Eraser.

[internet-plum]

UNIT 6: ESSAY

In the group, my role was the keyboardist. This role meant that I was responsible for creating chord progressions and melody lines through improvisation. Moving onto the main composition of the piece, Emilia, who was a member of my group, took the initiative to compose melodies that she played live on both the electric and bass guitar; she also created a bass line with the Moog Voyager. Jess pre recorded drum parts using the launchpad as well as recording live tambourine. Together we worked effectively and efficiently to create our song and develop our understanding of live looping/recording as well as Abelton’s features. We all originally decided on writing the song in the genre of indie rock, but later decided to allow the song to change and adapt as we went along making it, which ultimately ended up shifting the genre to a more relaxed indie pop sound.

As for technology we were using a Roland Electric Keyboard, which was connected to the Macbook with a midi cable to record the keyboard chord loops at the beginning of the song, and improvisation at the end. I liked the Roland because it had more keys than the common midi controller, as well as me finding it easier to navigate than others of a similar nature. We also used a Novation Launchpad Mini mk2 and an Akai APC40 MKII. The Novation mini was used to record the drum loops and for playing voice samples live, both of which Jess controlled. I liked the Novation mini more than the Akai APC40 because it was more simple and easier to understand, I found the APC40 to have too many controls which we struggled with during the making of the song. The Macbook acted as the main hub where the session was being played on, in addition to live loop recording the instruments. We were using Ableton 10, which is ideal for live performances.

In reference to the processes and actions used, we first had to midi map the drum sounds on to the Novation Launchpad to pre-record drum loops. For the voice samples, we took a recording of my voice while I was talking and making noises, manipulating it to have lots of delay and then we midi mapped the voice samples on the Akai to use live, they added atmosphere to the song which is why we added them in. On the bass and electric we used Ableton Amp Simulators to create a clean and full sound. For the keyboard sounds, we used two preset Ableton piano and key sounds that both had a dreamy effect to them because we wanted a spaced out and tranquil feeling.

Overall, I believe the performance wasn't as successful as we hoped it would be. Our downfall was lack of practice and preparation and my main problem was getting stage fright, not allowing me to perform the main part of the song (singing) and therefore compromised that part of the performance. As there was no singing in the end we missed out a vital use of the vocoder which if used would have increased the amount of technology used. On the other hand, all the technical factors and playing factors went fairly smoothly and there were no technical interruptions. Emilia was aware of her parts and performed them well, Jess being in control of Ableton managed to carry out her role with no mistakes.

Personally I would choose another genre to work with rather than indie, as indie can be too broad, which is good, but it's too vast of a genre to have enough guiding lines to stay within to deem it indie. Another important factor to our performance not carrying out as successfully as planned was lack of efficient practice, so next time we should discuss and create a plan of when we should practice and what we should practice in that time so we can use it effectively. We should have also been more communicative with each other to avoid confusion amongst the three of us.

Within this module, I learnt how technology is used in live performances as well as how to set up and use the instruments and equipment we incorporated into our performance. One of the most important things I found was learning Ableton and how to use it, which was also a big part of our performance. Referring to the show, I learnt how to perform live and I learnt through trial and error that practice for performance is key.

[thingstodowithmusic]

Alternative

Alternative music has its roots in underground or independent music from the mid-to-early 1980s. Largely a rock-based genre with ties to the punk genre of the previous decade.

Subgenres of Alternative include the likes of noise, indie rock/pop, shoegaze, DIY, grunge, and post-rock. As well as this, Britpop is often seen as derived from or within the genre. In essence, Alternative is a catch-all for independent or non-conforming/non-mainstream music that runs in the same vein as rock or pop.

Sleepwalker - Battle Tapes

https://www.youtube.com/watch?v=R5IvcvdIxcQ

Genre: Alternative (Pop/Rock)

Mood: Moody & downtrodden in the verses, but aggressive or heated in the chorus.

Texture: A rich layer of sounds built up through the duration of the track, moving between polyphonic and homophonic. The beginning of the track is more sombre and reserved, starting with a repeating arpeggio part on keyboard played in polyphony to the bass guitar, vocals, and other synthesizer part(s). The middle of the track is homophonic, following the same progression of the keyboard at the beginning and during the chorus.

Dynamics: The track has some dynamic elements to it, but overall isn’t too varied in its dynamic range during the verses, choruses, and the change during the latter half of the track. Most of the dynamic contrast is found in the chorus, post-chorus changes (back to verses), and the intro/outro respectively.

Timbre: Sombre tones are found in the arrangement, but switching it up to aggressive and growly for the chorus. The keys at the beginning have a twangy feel to them, as does the guitar played later during the solos; they have a western (like the films) feel to them, mixed with Asian instrumentation like a Korean gayageum. Synthesizers used on the track are fairly raw sounding, subtle uses of reverb & delay give them some sparkle, but they remain largely dry.

During the breakdown, most components of the track switch to half-time until it builds back up into the original time.

Instrumentation/Technology;

Nord Lead 2 - Used for the arpeggio constant through the track; filtered for most of it.

Moog MiniMoog Voyager - Growly synth used in the choruses & breakdown.

Korg MS-20 Mini - Used during the breakdown.

Linn Linndrum LM2 - Layered with the acoustic drums for kick & snare.

WAL Bass Pro II E - Playing the bass element of the track, in unison with the Moog Voyager.

Unknown Acoustic Drums (Paiste cymbals) - Form the rhythm section with the Linndrum LM2.

Unknown Fender electric guitar - Used for the lead guitar and with a tremolo pedal during the solo.

The track made extensive use of reverb & delay; including a stuttered delay for the lead vocals in parts. Swept filters are made use of during the breakdown across the entire mix before it builds up into the chorus again.

Melody: The main melody of the track is provided by the vocals, however it is reinforced by the bass, synthesizers, and rhythm guitar during the verses and chorus. When the vocal isn’t heard, the lead guitar or keys take over as the main melodic element. A secondary melody is played by the keys throughout, though heavily filtered once the vocals come in.

Time Signature: 4/4

BPM: 106 beats per minute.

Tonality: Sleepwalker is in the key of A Minor; though it drifts into C at times, the relative major of A Minor.

Structure: The track follows a fairly simple structure of A -> B -> C -> B -> A with C being a half-time breakdown before it returns to the chorus, then a verse-like outro.

Section

Description

A1

Intro keys.

A2

Bass & Linndrum.

A3

Vocals start, intro keys filtered.

B1

Moog & lead guitar come in. Keys unfilter.

B2

Chorus end; claps & Moog.

A4

Back to verse. Acoustic Hats, Shakers, and lead guitar.

A5

Intro keys return pre-chorus.

B3

Chorus #2

C1

Breakdown, half-time. Filter sweep across mix.

C2

Huge reverb snare hit, guitar starts.

C4

Middle begins, guitar solo.

B4

Chorus #3

B5

Solo guitar returns.

A6

Intro keys, looped vocal part. Outro.

Notation

Two bar notation of an element of this track; I chose to notate the most common sequence of the instruments, played by the bass guitar, keys, and synth during the chorus and then again on the outro by the keys. The outro in particular has two eighth notes on the last beat of the second bar which go up to the D above the C, before falling back to the C on the one of the first bar and repeating the pattern.

Sources

Battle Tapes (2011) Sleepwalker video; recorded during rehearsals [Online, Video]. Available at: https://www.youtube.com/watch?v=R5IvcvdIxcQ [Accessed 30 Mar. 2019].

[ghrecords]

Michel Des Airlines ‎– Le Voyage Cranien

Label: Ediciones Toracic ‎– TD-51 Format: CDr, Album, Limited Edition, Numbered Country: Spain Released: Nov 2016 Style: Berlin-School

First album by MICHEL DES AIRLINES (former member of DEKATRON III): A wonderful and disturbing trip to your own brain structure and neuronal network. "The "Musique planante" of the XXI Century!"

Michel Delacroix plays analog & digital synthesizers- Roland, Yamaha, Sequential, Moog, Doepfer, Waldorf, Clavia, string machines by Welson & Roland, sequencers by Doepfer & Korg, and Ibanez electric guitar.

Recorded at Cortical Studios (Limoges. France) March to September 2016, Mixed at Toracic Studio (Madrid Spain) October 2016. Engineered by Miguel A.Ruiz. Cover art by Renaud Cerveau.

8 tracks, 62 min.

Las suturas y fontanelas tardan años en osificarse completamente y lograr la coaptación total entre las piezas óseas del cráneo. El crecimiento de los huesos de la bóveda que continúa hasta la adultez se hace a expensas del material fibroso de las suturas y fontanelas. Este mecanismo admite cierta complacencia de la caja craneal para el crecimiento del encéfalo y una adaptación acorde al desarrollo y crecimiento del macizo facial. La capacidad craneal completa se alcanza hacia los 6 años, precisamente la edad en la cual Michel Delacroix (más conocido como "MICHEL DES AIRLINES") comenzó a destruir las antiguas grabaciones de jazz, que su padre, Nicolas Delacroix, almacenaba como oro en paño en el sótano de la casa familiar. Al cumplir los 12, Michel fue obsequiado por su hermano, Édouard, con un mini-órgano de la marca Casio, que le sirvió para iniciarse en la composición. Más tarde, y tras desembarazarse de varios metros de tejido conjuntivo, Michel huye de la ciudad y de sus familiares, refugiándose en un viejo caserón, a las afueras de Limoges, donde en 1987 instala su estudio, profusamente pertrechado de sintetizadores, teclados  y racks de efectos de sonido. En 1989, Michel creará su propio sello discográfico "Retour à l´Expéditeur", dedicado a la "música de líbrería" y bandas sonoras para documentales científicos y médicos, con 35 referencias nada menos. En 2005 recibió una mención especial de la Academia de Hollywood por el "soundtrack" de la película de largometraje " Le scarabée mâle offre à la femelle une boule de bouse", de Didier Rotulien. En 2017 TORACIC comenzará a publicar una serie de 3 recopilatorios del sello "Retour à l´Expediteur" (ojo! no se admiten devoluciones). El presente CD que nos ocupa, "LE VOYAGE CRÂNIEN", grabado en el presente año,  es un emotivo homenaje a aquellos pioneros del sonido electrónico francés, pero con un sonido propio del siglo XXI : un viaje al centro del cerebro que es al tiempo próximo e inquietante, dinámico y mórbido. 8 temas, 62 min. MICHEL DES AIRLINES : sintetizadores, secuenciadores, sintetizador de percusión, guitarra eléctrica Edición limitada 80 copias numeradas

Buy: 8 € http://gh-records.com/1391-michel-des-airlines-le-voyage-cranien.html

Payment methods: PayPal Pay by bankwire Pay whith cash on delivery (COD)

[nanotopian]

Moon in Cancer from Nanotopia on Vimeo.

Audio/Visual from Nanotopia's Midnight Mushroom Music live stream August 15th, 2020.

Concerning the Moon in Cancer live stream: to answer the question regarding samples and loops= nothing in our live performances is pre-recorded*. We are performing live in realtime. We often work with sequencers and build upon or subtract from them.

For Moon in Cancer we were performing with the following: Studio Electronics BoomStar 4075 Pittsburgh Synthesizer Block Erica Synths, Black Wave Table Doepfer A-111-5 Mini Synth Voice Make Noise René, Tempi, Pressure Points, Morphagene Qu-bit Bloom fractal sequencer Korg SQ1 Moog Mother32, Mini Moog Voyager, Grandmother Mutable Instruments, Plaits, Branches Momo Modular, Atom (Mutable Inst clone of Elements) Mel9 pedal iPad text to speech

When collaborating with mycelium we might use a combination of electrodes recording biodata** and translating this to MIDI (in realtime) which is brought into synth(s), from there we might add reverb, delay, etc. this depends on the mycelium's activity at the time. and/OR we bring MIDI to Yarns and Bastl where we branch out with CV and Gate into various instruments. Then you might say the Mycelium is a semi-random voltage source. * Pre-recorded samples, some of our past live streams have incorporated sound bites from a Music Thing Modular- Radio Music- such as Carl Sagan, Moon Landing, Voyager missions, birds, etc.

**Bio-Sonification Modules: We build our own modules, we also offer kits and pre-built modules for sale- meaning we have many bio-sonification modules for our own sound explorations :) THE most 'melodic' if you will, mycelium we've experienced to date is Ganoderma lucidum. Which (for reasons still tbd) reacts and responds to people in a space, and definitely responds to being touched. Follow Nanotopia on Spotify, @nanotopia_net on Instagram, nanotopia.net

[baileysparkes-blog1]

How has the Digital Revolution affected the production, consumption and evolution of popular music?

Technology and music are two paths irrevocably entwined. Our sonic capabilities have only ever been as extensive as our ware has facilitated- from the first drum to the first sampler, intelligence and innovation has lead the human race on its quest to improve. 8-track recording became 16-track recording; studios became bedrooms (to some extent!). Access to music has exploded across the planet, now connecting, listening and sharing in the palms of our hands with ease and speed. The artist’s pursuit of fresh sounds and originality has spurred the evolution of music genres- with first hardware and then software completely revolutionising the sound of pop again and again. Some inventions such as the classic electric stay true and relevant through the decades, whilst some toys like the Mini- Discs disappear into the past. Many, like vinyl recordings, then see a new breath with a cultural revival. Such is the cyclical and somewhat spectacular nature of music in our society.

In the early 1960s, a lot of recording was still simply undergone with the intention of re-creating or accurately capturing a live take. Of course, as methods and equipment developed, musicians were able to think out of the box using more and more interesting techniques. The Beatles were certainly pivotal in bringing this to the mainstream; they showed the pop music world exciting new sounds that they could not have achieved without the aid of technology of the later 60s, when they retired touring and became a studio group. This decision occurred because they could no longer perform to large crowds and be heard over the screams- the speaker power simply was not there. Hypothetically, if they performed today they would have no trouble catering for an audience twice the size. Recently a sound engineer patented a sound system design that affects the listener’s perception, creating a louder experience at the same sound pressure. New concepts like could see further boosts to plausible audience sizes. The creative use of tape machines in the subsequent releases from the famous group inspired many bread and butter instrumental bands to use their initiatives and studios as instruments. Tomorrow Never Knows is a track on the album Revolver by The Beatles that deliciously demonstrates a unique sound loop crafted from voices, but resembling the sound of seagulls. This foreshadows the ideas of synthesis such as modelling. Sculpture, a virtual instrument and modelling synthesizer in Logic Pro X, attempts to emulate the sound of other instruments- essentially bearing that same concept of trying to recreate sounds and ideas. The Beatles were some of the first to use tape effects in popular music such as flanging, which involves playing two copies of the same recording slightly out of synchronization and then altering the speed of one- this in particular became popular in the psychedelic scene when affordable digital units were produced to emulate this and other effects, such as echo, in the late 80s. It was this experimentation with physical tape manipulation that laid the roots for the audio manipulation of today. 49 years after the release of Revolver, all this can be done on a computer screen, or even a phone. The power and memory of our devices allow us to route effects, compress, equalise, and synthesise etc. on many channels simultaneously. Some more expensive set ups could host all this processing more than a few times over.

The journey of scientific progress has been the driving force behind the industry to reach this point, and it is clear how the equipment available defines the sound of era after era- not just in the 60s. The digital age brought with it efficiency and availability to recording- but not at first. In the early 1980s analogue recording was, in retrospect, at its peak. Early digital versions of studio necessities were excessively expensive and not as reliable in these prototype stages, but as companies updated and improved their products, traction was made. For example, the Atari 520ST was a home computer that created a shift in the market with its popularity. It wasn’t extortionately priced in comparison to other such platforms, and with its MIDI capability and 512k of RAM it is recognised name due to its contribution to the evolution of music technology. Affordable laptops in this decade have terabyte hard drive and upwards of 4gb RAM. MIDI itself however was just as influential, and more so than any individual computer model could be- the musical language that conveyed pitch and velocity information became a universal way of communicating to these new machines. To this day, with old machines and new, it is still the most established and widely used code for this use.

MIDI synthesis and sampling can be conducted through a huge variety of plugins in DAWs in today’s climate. Affordable hardware MIDI synthesizers and MIDI samplers facilitated the birth of electronic music. Brands like Korg, Roland and Yamaha released units that are now considered vintage- digital versions of these have been brought out in recent years to capitalise on this popularity (at a lower price for those that want to recreate that original analogue sound), and furthermore virtual instruments that mimic these are available. For example, a plugin by Arturia can be used to emulate the sounds produced by the very popular Minimoog series of analogue synthesizers, that ‘looks like the original’ and ‘sounds like it’ . Moog also boast the Minimoog Voyager series, based on the original synths; full analogue sound combined with new functions borrowed from years of new tech. Creative sampling in the 1990s excelled music into new territories- hip hop was always heavily invested in sampling culture due to its roots in jazz breaks. Speeding up these breaks inspired jungle and subsequently drum and bass as samplers became more proficient, with higher sample rates and memory capacity. Akai’s first professional sampler the S900 is a renowned piece of kit that arrived the decade before - in 1986 it was pro-quality and could store up to 32 edited samples on its drive. Its successor could hold up to 99, and was used by the likes of Fatboy Slim and Dr. Dre- although this is still a measly quantity in comparison to the almost endless banks for storage that a software sampler provides when used in conjunction with the average new-age computer hard drive.

The unfortunate truth of today’s market is that, although a wealth of music is available to more people than ever before, most of it is received at a fraction of the original quality. The slow decline of the quality at which the average member of the public consumes music started with digital technology, the aim of which at first was to increase efficiency of delivery to maximise profits, rather than to preserve audio quality. The chain that this created moved from CDs, to cassettes, to MP3s at as little as 128kbps. This progress was parallel to that of CD players, to cassette players, to mp3 players, as users strived to carry as much music in their pockets as they could. People didn’t just want it for themselves- the greed was shared through the ability to burn CDs, to record tapes, and file share. The last in particular crippled the music industry, as low quality songs were spread to thousands illegally and consistently. The repercussions of this have completely reshaped the way musicians earn money, with focus deferring slightly from record sales to tours and merchandise etc.

Such progress for digital memory and storage at the cost of a file’s original sound seems a stark contrast to the quality of recording technology as detailed in this article… However whilst recordings produced since the 90s have certainly been clearer, better mixed, better mastered, and played through increasingly capable sound systems, the dynamic range has been sacrificed as well. This is down to excessive dynamic compressing and limiting that became habitual and competitive for many producers, leaving a stain on the new century that was dubbed ‘the loudness wars’. It is called so in reference to the desirable benefit of this sonic-squashing, the ability to up the gain without clipping. This is possible because the lack of dynamic range means the signal can be boosted to the furthest point without having to account for as much volume fluctuation. Examples of this over the top mixing style can be heard in the Death Magnetic album by Metallica. Streaming is the newest form of consumption, made possible by Internet speed and accessibility improvements, where one can listen to music hosted on the web. It is commonplace to own something more powerful than the Atari 520ST that fits in the palm of the hand, providing telecommunications and Internet practically anywhere (amongst hundreds of evolving functions). In some countries, DJs can even play entire sets hosted on the ‘cloud’, a type of internet storage that users of different supplying companies are given access to.

It will undeniably reach a point where people have access to any music at anytime. Along with this, the ear buds that come bundled with every phone will become better as the better headphone technology becomes cheaper. This is cause for hope. The bass-boosted and frequency response restricted kit is exactly what keeps the average consumer in the dark about this audio quality crisis. If the technological improvements of the future open people’s eyes, it won’t even be such a struggle to reverse the damage- the storage capabilities aforementioned will already easily account for higher quality files. These file types already exist, such as WAV and AIFF- this future is already at our fingertips. In conclusion, the digital revolution has had both drastic negative and positive effects on the industry; because of the prospects digital technologies hold for the next few decades, the accessibility of music/options for musical creation these technologies have already bestowed, and the plausible reversibility of the audio quality situation, the positives outweigh these negatives.

Biliography

http://www.ibtimes.co.uk/psychoacoustic-sound-finally-you-can-play-music-top-volume-neighbours-wont-complain-1496577

2 http://www.soundonsound.com/sos/jan01/articles/vintage.asp

3 http://www.musictech.net/2014/05/atari-520st/

4 http://www.vintagesynth.com/misc/miniv.php

5 http://www.vintagesynth.com/akai/s900.php

[koccanmama]

2017 09 29 skullhong12 https://t.co/lQPJhCpPcL #new #item #mini #moog #voyager #fo#song

[omarboulakjar]

9to5Toys Lunch Break: 9.7″ #iPad Pro LTE $579, 15″ MacBook Pro 512GB $400 off, Amazon Echo $140, more

Keep up with the best gear and deals on the web by signing up for the 9to5Toys Newsletter. Also, be sure to check us out on: #Twitter, RSS Feed, #Facebook, #Google+ and Safari push notifications. TODAY’S CAN’T MISS DEALS: #Apple 9.7-inch #iPad Pro Wi-Fi + LTE 32GB $579 shipped (Reg. $729) #Apple’s 9.7-inch #iPad Pro gets $124 discount, priced from $475 #Apple’s 15-inch MacBook Pro 512GB gets a nearly $400 discount for Memorial Day Amazon’s Echo and Echo Dot now up to $40 off for Prime members Best Buy Memorial Day Sale: $70 off #Apple Watch Series 2, #iPad mini 4 $300, more! Best Memorial Day Sales 2017: #Apple Watch, apparel, home goods, more Best Buy is clearing out official #Apple Watch Sport Bands, starting at $34 (or less) #Apple’s Great Games for $1 Sale: BADLAND, Assassin’s Creed, many more * Assassin’s Creed Identity for #iOS drops to just $1 (Reg. $5) * Multiponk’s local #iOS multiplayer free for first time in years (Reg. $3) * Minimalist #iOS puzzler Klocki goes free for first time in nearly a year * Lumino City’s handcrafted worlds drop to lowest price ever at $1 (Reg. $5) * Mini Metro’s fantastic puzzle action hits lowest price this year at $1 (Reg. $5) * Infinity Blade trilogy now down to just $1 each on #iOS (Reg. up to $7) * The Amazing Spider-Man 2 is now just $1 on the App Store (Reg. $7) * Crazy Taxi’s wild #iOS arcade racing now free for first time in years (Reg. $5) * Cartoon Network’s #iOS RPG Attack the Light hits lowest price in years: $1 (Reg. $3) Review: Logi#Tech’s Z537 Speaker System gives your Mac the audio it deserves [Video] 9to5Rewards: Sphero’s Star Wars BB-8 smartphone-controlled droid [Giveaway] MORE NEW GEAR FROM TODAY: This Brother Wireless Printer w/ AirPrint is an Amazon favorite, now $100 (Reg. $130) Kindle Voyager E-Reader (refurb) $135 + up to 80% off Kindle E-Books nonfiction bestsellers * In-ear Headphones: AmazonBasics w/ Remote $7, Bose QuietComfort 20 $180 * AmazonBasics Explorer Backpack for up to 15-inch MacBooks: $16 (Reg. $30) * Mophie Juice Pack Reserve Battery Case for iPhone 6/s: $30 (Reg. $50) * Epson VS240 LCD Projector with HDMI input: $240 shipped (Reg. $300) * Slayaway Camp and its Minecraft-like horror gets very first price drop: $2 * Today’s Best #iOS & Mac Game/App Deals: Warhammer, Bokeh Lens, more * Today’s Best Game Deals: Prey $40, GTA V $30, Witcher 3 $20, more * Smartphone Accessories: Lamicall iPhone/ Android Dock $6.50, more * Daily Deals: SanDisk Ultra 128GB USB 3.0 Flash Drive $28, more * Nordstrom Rack Clearance Event w/ extra 25% off * L.L. Bean offers rare 20% off discount for Memorial Day * Grab an Intex queen-sized self-inflating bed for $35 * Oral-B Black Pro 1000 Electric Toothbrush just $30 shipped (Reg. $40+) * More Memorial Day magazine deals: ESPN + Insider 2yrs for $8 shipped NEW PRODUCTS & MORE: How-to build your very own LEGO fidget spinner Homsecure alerts your #iOS/Android device when your existing smoke alarms go off Smacircle S1 eBike fits in your backpack to make storage a breeze * DEWALT overhauls Bluetooth Connect system w/ new tools, trackers, more * Gogoro’s second gen electric scooter has a lower price, same power * Pokemon’s Magikarp Jump splashes onto #iOS and Android for worldwide release * Makerball is a DIY Pinball Machine that is completely customizable * IK Multimedia debuts new beast Mac synth w/ Moog, Prophet, Oberheim sampler-instruments * 8Bitdo rolls out free Nintendo Switch support for all its retro-style controllers * Two:35 is a computer building kit for kids that can actually get them certification * DJI’s new $499 Spark drone offers gesture controls, compact design [Gallery] * Sphero unveils #iOS-controlled Lightning McQueen racer for $300 * BIKI is an underwater 4K camera drone that can go wherever you swim * Belkin intros new line of compact Pocket Power banks starting at $20 * Ambi Climate returns with its second generation Alexa-enabled air conditioner controller * Haikara smartwatch focuses on fashion with customizable watch faces and bands * This Vintage Vinyl Bluetooth Speaker is actually made out of reclaimed records * Beyond Zero’s liquor freezer puts your cocktail “in the rocks” * NikeLab releases urban commuter, all-condition ACG.07.KMTR * Monoprice is now making a professional quality 3D Printer at just $159 * Love Hultén’s new vintage-inspired mahogany Astovox Hi-Fi System * Atomos Ninja Inferno: A great way to speed up your Panasonic GH5 workflow [Video] * LEGO’s latest is a massive 2,800-piece Minecraft Mountain Cave set * WATTS is the customizable battery backup system meant to fit any home MORE DEALS STILL LIVE: Mophie Juice Pack Battery for iPhone 7/Plus for $50 shipped (Reg. $99) #Apple’s official Silicone iPhone 7 cases are on sale at Amazon from $24 Twelve South TimePorter for #Apple Watch now $40 (Reg. $50) iHome SmartPlug with HomeKit/Alexa hits Amazon all-time low: $42 shipped Pad & Quill offering 20% off leather/linen #iPad & #Apple Watch accessories more… http://j.mp/2rOHwbQ

[afrosonics]

I was wondering if I could shape this passion Just as I wanted in solid fire. I was wondering if the strange combustion of my days The tension of the world inside of me And the strength of my heart were enough. I was wondering if I could stand as tall, While the tide of the sea rose and fell. If the sky would recede as I went, Or the earth would emerge as I came To the door of the morning, locked against the sun.