Studio Focus: Dubspeeka / Hugh on July 16th

Dubspeeka

For our readers who are not familiar with you yet, can you tell us a bit about yourself and what you do?

I’m a producer from Bristol. I’m currently releasing with Last Night On Earth, Drumcode and Skeleton. I used to write and perform the music for Kosheen.

What is your current studio set up?

Inside the Mac Pro I’m working with Ableton Live, Logic ProX, UAD plugs + Apollo Interface, NI, Circle2. Hardware consists of Adam A8 speakers, Moog Voyager, Juno6, Mackie Desk and some old guitar pedals.

When working on a track, what is your process?

It depends, sometimes I have an idea for a melody, so I’ll expand that and then maybe work on the drums later. Or I might have a strong groove in mind, so the drums are first with everything fitting afterwards. I tend not to use the same methods as I like to keep things interesting and fun. I also like to jam on the hardware, record everything and then edit the bits I like in Ableton. I’ve been doing this a lot lately, you get a nice natural flow in the arrangements this way.

How do you normally go about sourcing and designing sounds for your music?

I’ll have something in mind, and then I just tweak until there’s something I like. Most of the time it’s close, it can change, but I know when i hear it.

If you experience a creative block in the studio, do you have any particular rituals that get the inspiration flowing again?

Don’t force it. Take a break, go for a walk, listen to some music, get out of the studio space. Come back with a fresh head.

Mixing down can often be frustrating when starting out in production, what advice would you give for getting tracks ready for the club?

The best thing to do is AB your track to something you like. That’s a good starting point. If your bass is massively high in the mix compared to a lot of stuff your hearing out, you might want to take it down a few db, unless you want excessive sub. But it’s a good way to hear what other producers are doing in their mixes.

What’s up next for you, any releases in the pipeline?

I have a release coming out on Skeleton, it will include some ambient pieces which I’m quite excited about. Also have something coming out on Drumcode Ltd (vinyl only) which includes a Markus Suckut remix.


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The Moving Firms And Shakers In Mobile Phones Advertising Today Ayetstudios Review On Appixli.com / Superuser on July 12th

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You may have put in weeks/several weeks - styling and growing your mobile app. Whenever you introduction for the Software Stow, you hardly get any downloading/installs for it, though it can take considerable time to get it just how you need it. What went down? Reference Advertising could be of very good full advantage for power software programs like Dropbox, other and Uber system programs. Below one particular operator is asked to share the software with another customer and and both individuals are benefitted with a few perks. This will likely verify similar to a chain effect for your special iphone app with advantages to be the Appixli.com driver. Should your applications tend not to make it to the target market, your being an skilled mobile phone app creator does not develop a feel. Commonly time developing an app turns out to be simplier and easier than promotion it. On the plus side, there are a lot providers to assist you to market your apps correctly. This is actually the set of top rated 10 companies for promotional an application in the usa.

That is only a portion of it, however take into account that producing a software usually takes too much time. Exactly how you promote your application, are going to take you simply as long (For those who are getting this done most suitable). Carefully consider covering up mobile subject matter that utilizes setting distinct functions. When you are making an advert for one store electric outlet, you possibly can geofence Ayetstudios.com http://appixli.com/ayet-studios-review/ the arrive at within your advert to show to buyers within an precise region or within radius of your specialized list outlet. In an effort to gives a very related and fascinating knowledge with regards to your cellular listeners, your advert really should hyperlink to articles that literally brings all these contextual variables into execute. If you are harvesting contact information, help make the enquiry technique as seamless as it can be, what you do, frequently provide a robust speak to-to-behavior within your landing page and. In excess of 75 billion dollars apps and game have actually been delivered electronically within the Apple inc Mobile app Keep simply because 2008. Preferred webpage, Mashable notices that in 2013, the cumulative save whole was about 50 billion dollars, purpose the Application Retailer downloading appropriately greater by fifty percent in exactly 12 month. Making and building a phone software is not any straight forward task, while it usually takes preperation, resolve together with a fabulous customer knowledge going to the jackpot. Nevertheless, There may be a significant element a great number of app makers and creators overlook: software promotional.

Tapgage has stored a close attention on your Wireless Mobile app Niche within the last twelve months, we certainly have come across new different ways to assist designers promote and monetize software applications. The following are well over 80 several tips, simple ways and tips and hints will promote your new and classic programs.Influence the power of your mail e-zine. Given that reading email message can be a serious hobby many people do on their own mobile phones, inform them about your mobile phone iphone app and work out it easier to be able to obtain it. You are more likely to have more downloading, by providing at least an easy option in the app totally free. This will aid to display up better on the search engine ranking of well-known apps from the software shops. The better sought after your iphone app is, the greater number of downloading it can get and thereby force you significantly greater in your search engine rankings. Societal channels offer you a amazing possibility for promote your application. Twitter and Facebook both make available application-put up adverts. It can provide you with being able to make techniques, with a hint generally is a suggestions to acquire an iphone app, despite the fact foursquare is not going to. Particular target cities that can be in step with your app and promote it to the people looking for tips and hints. An exceptional iphone app is a lot more noteworthy which will go away a better impact, triggering a great deal more reports and back links, and at some point alot more downloads. You could try what I connect with the “the viral reality check” or “bar test”: demonstrate to your pub companions your application. Do they would like to have it as soon as possible? Will they spend more than thirty seconds performing all over for it on their mobile phones? An software by using a unique model or function provides a greatly considerably better probability of turning it into. Identify your apps special outstanding in order to make it section of the center enjoy.

Circle² Future Sounds: Chicago House / Hugh on June 27th

* All non percussive elements in this track are generated using Circle² Future Sounds: Chicago House.

Chicago is widely accepted as the birthplace of house music, and clubs / radio all over the world continue to breathe the signature sounds of 1980s Chicago to this day. Originally, analog synthesisers and hardware drum machines were the tools of the trade, but luckily today we can achieve similar results using software.

We have developed a bank of sounds inspired by this time in house music’s evolution. Alongside the presets we have also included a demo track, with the associated project file, audio stems and midi files we used in its creation, so you can pick apart the elements in order to understand the production techniques and be inspired! 

Download the pack below, it contains all the elements you need to make a grooving Chicago house style banger. We recommend tape saturating your master slightly and using these presets alongside swung Roland TR909 drum samples to get that real old school Chicago sound.

Circle² Future Sounds: Chicago House

1. Chi Bass
2. Deepchord
3. Rhodes Like
4. Strung
5. Vibes Chord

Download the expansion

Download the project files

To install the presets, just unzip and paste the folder “Future Sounds - Chicago House″ in here:

OSX - Application Support > FAW > Circle-2 > Presets
Windows - Program Files > FAW > Circle2 > Presets

Just how to Produce an Exploratory Essay with Trial Reports / Superuser on June 21st

Edit Report How to Make a Sock Doll You might never know what happened to that particular missing sock, nevertheless now you understand what related to its spouse. Several "orphan" stockings out of your washing place could be made into a doll that was huggable. Ad Methods Select three stockings to create your doll. They could be any measurement, but remember that any design or logo in it may also be so solid-colored, to the toy, gently worn stockings are greatest for this task. Continue Reading

Correspondence of Purpose Templates Three Packages / Superuser on June 21st

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Studio Focus: Richard Devine / Hugh on June 18th

Devine

For our readers who are not familiar with you yet, can you tell us a bit about yourself and what you do?

I am a electronic artist and sound designer based in Atlanta Ga. I have been releasing music for the past 20 years under my own name, and in 2001 started working also as a sound designer which I am doing full time now today.  Which focuses on Musical composition, sonic mnemonics, field recording, sound effects and specialized sound design for TV / film, web media and video games.

What is your current studio set up?

My current studio setup is centered around two Mac computer workstations, Macbook Pro, and Microsoft Surface pro portable laptops. I have two stations one for editing and the other side of the studio is setup for mixing, which consists of a Yamaha DM2000VCM digital console. The mix down setup consist of a Dangerous music 2Bus LT, and Universal Audio Apollo 16, which is then final mixed through a  Avalon VT-747SP. I basically work mostly from my laptop these days so I usually start things there, then final mix at home through that setup :-) I have also been jumping back into using analog modular synthesizers lately making music, and sound design with them.

You’re renowned for owning many analog synthesizers, but in what situations are you more likely to turn to a software alternative?

I use software based synthesizers just as much as I do hardware. The ease and ability to control them in a computer is extremely important to my work. You can automate as much as you want, and also have as many instances as your CPU will allow giving you lots of incredible power at your finger tips. I actually use software synthesizers for almost all of my sound design work. As I have to be able to recall settings and presets very quickly with sessions from client to client. Most importantly I have a wide variety of options and different synthesis engines to choose from. Some of my favorite synthesizers are software based. I love sitting down at a coffee shop or the airport and making sounds on the go with headphones, its really easy to work on things.

When working on a track, what is your process?

It never starts out the same way, sometimes I start with a melody of some sort. Or sometimes it might be a rhythmic structure, or sequence pattern. Other times it might be a collection of field recordings or samples I have made that I organize into something. Other times, I have something in my head I want to try so I start patching or programming in the computer. Its always different depending on the mood I am in. Some tracks come together in a matter of hours, others take months to complete. I am sort of all over the place when it comes to this process. I like having the freedom to experiment and try different things out in the process. Sometimes happy accidents will happen along the way and drive you into a different space you hadn’t thought to go.

Devine 2

If you experience a creative block in the studio, do you have any particular rituals that get the inspiration flowing again?

For me its getting away from the project for a few hours, or a day. Sometimes when you are working on something for a very long time, and get creatively stuck it can be frustrating. In these situations I put down what I am doing and leave and go out for a walk or a hike. Or even go out for a drive to the store to get my ears away from the project. Just to give them a rest, then come back to the session with a fresh mind, that can re-think the solution or problem. Often times I might listen to music, to get me out of the headspace and into something else for a while. Doing this usually gives me ideas and allows me to think different about maybe what I am doing.

Mixing down can often be frustrating when starting out in production, what advice would you give for getting tracks sounding release ready?

Well for me growing up it was a much different world. I was buying a lot of cheap hardware units, and learning how to mix the hard way. I would get a cheap compressor then learn how to use it, make many mistakes along the way, then move on to the next piece of equipment. For me it was better to acquire one piece of the mixing chain then try to fully understand what it did before moving on to the next part of the puzzle. Now all of these things are available in software, and in many cases built right into the channel strips of many DAWs. So learning about these things is very easy now, and all you have to do is put the time in to learn them. I would suggests just taking each section and studying what EQs, compressors, limiters etc. do. Examine how they behave, on various different material to get a better understanding of what they do. This is what I did, and record as much as possible. I would record hundreds of short tracks testing things out in my car to see what things would do. Also now you have access to the internet, there are hundreds of videos and articles that talk about this subject at great lengths. I also would join the GearSlutz forum as there is lots of great information about mixing and various techniques.  I don’t claim to be an expert on this, but feel that would be a great starting point.

What’s up next for you, any releases in the pipeline?

I have a new album in the works, which is all modular based that will be coming out later next year. It will be a collection of modular tracks that will be fully documented. Each track will be recorded into a video with detailed patch notes, so they can watch the track being created live, and also study what modules and techniques were used.

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How Into Write An Incredible Academic Essay Thesis Writing On Onlineessayshelper.com / Superuser on June 9th

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Studio Focus: Cardopusher / Hugh on May 19th

Cardopusher

For our readers who are not familiar with you yet, can you tell us a bit about what you do?

I’ve been making music in the electronic spectrum as Cardopusher for the last 15 years. I’ve been involved in several different genres / scenes but for quite some time now I’ve been mostly making house and techno. In 2011 I started a little record label called Classicworks, which I co-run with my friend Nehuen, and we have released underground stuff ranging from techno, house, noise, power electronics, early rave and more. I’m not interested in being pigeonholed in just one genre, its so boring to me. You can find my recent stuff on labels like I Love Acid, Super Rhythm Trax, Them UK… And obviously on my own label Classicworks.

Can you tell us a bit about your studio set up?

In my set up Ableton Live runs as the master, and is hooked up via midi with a TR-707, TR-505, x0xb0x, Electribe ESX-1, Vermona Mono Lancet, Oberheim Matrix1000 and few pedals. Im also using an Elektron Octatrack for sample mangling stuff, and to record some loops on the computer to process later. I like the balance between analog and digital so i use whatever is handy to me.

When working on a track, what is your process?

I normally work on drums first, I have an extensive drum machine sample library so i go deep in looking for the right sound of every drum kit. Then I start to mess with the synths, basslines and samples in general. At this stage I start to record a few bits, ideas, mistakes, loops - and when I get enough material the next step is normally to arrange, followed by editing and mixing.

How do you normally go about sourcing and designing sounds for your music?

I look for new sounds constantly because I work a lot with samplers, so I spend time filling the Octatrack or Electribe with new sources to work on, otherwise I get bored of the same sounds. I grab sounds from everywhere, it could be from vinyl, high quality recorded sounds or simply just lo fi YouTube stuff.

If you experience a creative block in the studio, do you have any particular rituals that get the inspiration flowing again?

When I get a creative block what works best for me is to leave the studio for a while, so my ritual to get the inspiration flowing again is normally hanging with friends, going record shopping, watching movies, basically I just need to get some fresh air. When I’m back again I put on some music to get in the mood while I’m preparing the machines to start work on. Discovering new music makes me want to go to the studio immediately.

Mixing down can often be frustrating when starting out in production, what advice would you give to getting tracks ready for the club?

Definitely you need to have patience, the only way for getting tracks ready for the club is spending lot of time making music and learning all about the audio processing realm. It’s also very important to listen to different genres to understand how production works in different areas.

What’s up next for you, any releases in the pipeline?

Next up I have a 12″ record coming out on Zodiac44 which is based in Berlin, on May 19th. Then I have a track coming on a Classicworks tape compilation in the next months, followed by a 7″ split on the label from me and Nehuen later in the year. Other than that I have been spending a lot of time in the studio finishing new tracks, so there is definitely more stuff coming for sure.

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Circle², EyeGaze instruments & the South-West Open Youth Orchestra / Hugh on May 9th

Bradley Rehearsals

#SWOYO musician Bradley in rehearsal - Photo by Paul Blakemore

Circle² has become a key ingredient in the design of bespoke accessible instruments for the UK’s first disabled-led regional youth orchestra - the South-West Open Youth Orchestra #SWOYO. This includes instruments built around infra-red motion-sensing cameras that can track the movements of your head or your eyes, to enable precise and expressive control over musical notes.

OpenUp Music is the pioneering charity behind #SWOYO - we empower young disabled musicians to build inclusive youth orchestras. But if you’re imagining an old-fashioned orchestra with ranks of strings, woodwind and brass playing the same old repertoire in the same old way, think again. We believe that young disabled musicians can radically redefine the idea of The Orchestra, tackling inequality, inspiring new musical instruments and creating new musical forms for the 21st century.

#SWOYO is about mixing up talented disabled and non-disabled musicians, and colliding cutting-edge music technology with conventional instruments. It’s also about pushing music technology much harder to realise accessible, expressive and virtuosic musical instruments that are playable to a high-level in real time, (as opposed to being sequenced, quantised, auto-tuned or pre-recorded – not that there’s anything wrong with that, it’s just not what we do.)

Bradley + George

#SWOYO musicians Bradley and George - Photo by Paul Blakemore

Bradley & George are two #SWOYO musicians for whom Circle² forms the bedrock of their sound. They both have Cerebral Palsy, which for them makes physical control of conventional instruments or computer hardware (mouse, trackpad, keyboard…) challenging. They’re both talented, passionate young musicians and through a process of ‘participatory design’ we co-created bespoke music software environments that George plays with precise head movements using a SmartNav motion-sensor, and that Bradley plays with his eyes using his Tobii EyeGaze.

In rehearsal and performance, the #SWOYO set-up is built around Ableton Live and a 12-speaker-array of Genelec monitors, to ensure that each musician’s sound is location-specific as it would be in a conventional acoustic orchestra. But for any musician to perform to a high standard, they also need to play and practice regularly at home. So, in addition to accessibility and expressivity, another key consideration in designing George & Bradley’s instruments was that they needed to be simple enough to plug in and play at home, without the need for an ‘Ableton-geek’ on hand to set up and trouble-shoot.

After testing and considering a range of options, Circle² was a clear choice. Not only does it sound great, (to my ears Circle² has a rounded sound with the potential for softness or bite in equal measure without ever being harsh,) but also it runs well both as a plug-in within Ableton, and stand-alone for playing at home. I also find Circle² to be really intuitive and quick for designing sounds. I work fast and need to be focused on the musical outcomes, not tangled up in endless tech-twiddling.

Bristol Cathedral Performance

#SWOYO’s first performance, at Bristol Cathedral - Photo by Paul Blakemore

The first #SWOYO concert took place at Bristol Cathedral on 16th April 2016. We performed Liz Lane’s ‘Silver Rose’ with the Lydbrook Brass Band, the UWE Singers and Alison Howell (organ), conducted by Ian Holmes. It was an amazing event with synth, brass, choir, piano and organ combining to dramatic effect in the cavernous and reverberant acoustic of the cathedral.

Coming up - #SWOYO will be performing as part of BBC Music Day on 3rd June at Bristol’s Colston Hall, to be broadcast on BBC Radio 3 In Tune. And The One Show recently made a short programme about #SWOYO - follow @openupmusic on Twitter for news of the broadcast date when it’s announced.

Finally, we’re still recruiting for the South-West Open Youth Orchestra! If you, or anyone you know is interested in joining, check out the requirements and get in touch via the #SWOYO webpage

Doug Bott – Musical Director, OpenUp Music
5th May 2016

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Circle² Future Sounds: UK Dubstep / Hugh on April 25th

* All non percussive elements in this track were generated using Circle² Future Sounds: Dubstep Vol.1

Circle² Future Sounds is our new series in which we explore the sounds behind genres from around the globe. In our first instalment, we take a look at the origins of Dubstep in the UK. Dubstep is a genre that primarily grew out out of the dark underground of the ever more commercially leaning UK garage scene in the mid 2000s. It also drew heavily on the lineage of drum and bass, jungle, dub and reggae. Now sometimes associated with harsh mid range and stadium performances, dubstep originally began as a deep and contemplative musical style.

We have developed a bank of sounds inspired by these earlier origins of dubstep’s evolution. Alongside the presets we have also included a demo track, with the associated project file, audio stems and midi files we used in its creation, so you can pick apart the elements and understand the production techniques synonymous with UK Dubstep!

Download the pack below, it contains all the elements you need to make a deep, dark dubstep banger.

Circle² Future Sounds: UK Dubstep

1. Asia Pluck
2. Dynamic Tension Atmos
3. Shaped White Lead
4. Swollen Bass
5. Wobbling Bass
6. Wobbling Bass 2

Download the expansion

Download the project files

To install the presets, just unzip and paste the folder “Future Sounds - UK Dubstep″ in here:

OSX - Application Support > FAW > Circle-2 > Presets
Windows - Program Files > FAW > Circle2 > Presets

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