Browsing Category

The Music Production News Feed

Plugin Spotlight: Stacker by Sample Magic

Get an in-depth look at the all new drum layering plugin by Sample Magic called Stacker which captures the power of synthesis and sampling.

Sample Magic

Introduction

Sample Magic has earned a strong reputation as being one of the world’s leading provider of professional sound samples, instrument presets, musical components, music production resources, and software to producers across a wide range of genres.

The latest addition to their award-winning products captures the power of synthesis and sampling to deliver a truly unique drum layering plugin called Stacker.

Stacker Overview

Stacker is the ultimate drum layering plugin that uses synthesis and sampling across multiple layers to craft an extensive range of tailor-made sounds from cutting-edge drums, intricate percussion, and complex rhythmic tones to lush chords and cinematic-style effects.

Main Features

Stacker boasts some serious sound sculpting features such as three independent samplers, a fully equipped analog-style drum synthesizer, a suite of insert FX, a modulation matrix, smart global editing, freeform curve-enhanced envelopes, and a host of other innovative tools.

Six Channel Mixer

Located at the top of Stacker is a six channel mixer. The red, orange, and green channels are for the three independent sample layers. The blue channel is for the modeled analog synth. The last two channels are the effects returns for delay and impulse responses. Each channel sports controls for volume, mute, and solo. The sample and synth channels have two color-coded knobs for mixing in the delay and impulse Send FX, while the two return effects channels each have color-coded knobs for quick editing. Below all the knobs are the channel preset menus for each channel

Sample Magic

Three Independent Samplers

At the core of Stacker is the Sample Layer section. The Sampler is where you sculpt custom sounds with ease by importing up to three different audio samples and editing them with various parameters. Quickly shape samples to your exact requirements using assignable start, loop and end points, silky smooth filters, expression controls, and a pervasive set of phase correction and stereo width tools.

Sample Magic

Modeled Analog Drum Synthesizer

Stacker’s synth engine is driven by a robust modeled analog oscillator with a separate noise generator for constructing sonically rich drum sounds and effects. It can even be used to program bass and leads sounds. The synth offers a single oscillator for generating variable waveforms between a triangle, sine, and square wave shapes. Give your sounds some character by adding punch with the DRIVE circuit or mixing in an 808-style transient for exciting dull sounds using the CLICK generator, and then tuning the results to your track with the TUNE knob before sculpting it further with the Amp and Pitch envelopes. In addition, the NOISE circuit offers a color selection, a multi-mode filter with resonance, a stereo width control, and a noise envelope. Both the SYNTH OSC and NOISE generator are mixed together and routed through the FILTERS and Insert FX sections for additional processing.

Sample Magic

Multi-Stage Envelopes

Shape your sounds with precision using Stacker’s ultra-flexible envelopes and curve controls. Load a preset or program your own nuanced curves using the fully-editable 8-point Amp envelopes to control amplitude, pitch, and modulation. Zoom in for fine tuning and sculpt your sounds with greater detail using the TIME control to edit the length of a sample, and WARP to create instant transient variations.

Sample Magic

The Pitch envelope has the same functionality as the Amp envelope, and can be accessed by clicking the PITCH tab. Design sounds that work harmonically in your projects by moving the semitone points for pitch-perfect accuracy. In addition, you can load, browse, and save envelope shapes using the Envelope drop-down menu.

Sample Magic

Insert FX

Take your sounds to new sonic dimensions with Stacker’s various Insert FX. Each of the four sound generation layers has their own suite of Insert FX that is accessed by either clicking on the FX tab or selecting the layer name from the mixer. Each insert in the chain can be toggled on or off. The available Insert FX are:

  • Digitize: Offers a variety of lo-fI effects to sounds.
  • Clip Filter: Combines a multi-mode filter and a distortion unit that features seven models from tube overdrive through soft clipping to complex wave-folding.
  • Zero Flanger: Alters a sound by introducing a varying phase shift and delay to add movement to the sound.
  • Mod Shift: Choose from either a ring modulator (RM), or a frequency shifter (FS) to add extra harmonics to the sound.
  • Two-band EQ: Offers low-shelf, high-shelf, and peak models with up to 12dB of gain for boosting or cutting.
  • Filters: The analog-style filters round out the sound with Low and High controls.
Sample Magic

Send FX

In addition to Insert FX, Stacker also sports a fully customizable delay and reverb Send FX engine that is accessed through the last two channels on the mixer. The delay features two separate models, tape-style echo and digital repeats along with a host of tweaking parameters to dial in your delay effects. The reverb effect uses Impulse Response files (IRs) to add various types of ambience to a sound, from classic room and hall reverbs to special effect textures. Both Send FX also have a Pump Envelope section for fine-tuning complex ghost grooves and slapbacks.

Delay FX

Sample Magic

Impulse FX

Sample Magic

Scatter

The Scatter editor is one of Stacker’s secret weapons. This brilliant feature enables you to offset the start of each sample and synth layer so that they trigger at different times. This intelligent time displacement is indispensable for creating wide clap stacks, crescendo effects, and more.

Sample Magic

Modulation Matrix

The colorful Mod Matrix provides 11 different sources and over 90 targets for adding some serious dynamic motion and expression to your sounds. You can control nearly every parameter in Stacker or even control up to nine different parameters at once. When the Target is set, its color changes to match the layer for easy reference. Make the magic happen by using the many sound manipulation options to take your sounds to new levels. This section also features four independent modulation envelopes and a set of four Macros to control one or more parameters through a specific, pre-defined range.

Sample Magic

Global Controls

Quickly access global controls on a single intuitive panel for on-the-fly tweaking. The central light color panel shows high and low cut filters for each layer, along with resonance dials for each channel, while the dark panel lets you delve deeper into advanced sound design options. Here you can access essential layer parameters for each of the sampler and synth layers. The Presets Menu to the right is where you browse through over 1,200 expertly crafted presets including professionally crafted drum sounds, raw samples, tried and tested envelope curves, IRs, Macro assignments, effects racks, and more. Quickly swap and tweak presets or click the ‘lightning bolt’ button for intelligently randomized starting points. For more inspiration browse the Stacker XPansions from Sample Magic.

Sample Magic

Availability

Stacker + 1,200 presets available to download at Sample Magic.
Compatibility: PC and Mac in VST/AU/AAX formats.

 


Kontour Tutorial

Sound Design Komplete Program

Finding the right sound can be like looking for a needle in a haystack. Learn the fundamentals of synthesis and sampling and gain the depth of knowledge to shape sounds the way you want them or make your own sounds from scratch.

About This Program

Become fluent in the language of sound design and synthesis with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers the major techniques used for contemporary sound design.

You will learn to create your own sounds with a variety of techniques and add a personal sonic signature to your tracks. We introduce you to the latest synthesis and sampling technologies and show you how to use the world’s largest and most diverse sound library. In the advanced levels, you will acquire total control over all aspects of the Komplete instruments while practicing genre-based sound design.

What’s Included

  • Sound Design Level 1: Introduction to Komplete
  • Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
  • Sound Design Level 3: Sampling with Kontakt and Battery
  • Sound Design Level 4: Advanced Sound Design
  • Sound Design Level 5: Reaktor Ensembles and Production Techniques
  • Sound Design Level 6: Reaktor Programming and Instrument Building

Additional Information

Visit the Music Foundations course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2016/08/Sample-Magic-Stacker-Thumb.jpg

The post Plugin Spotlight: Stacker by Sample Magic appeared first on Dubspot Blog.

Read more here

PB London Open House: Ableton Live Masterclass and Deconstruction – Friday 9th September

Following the huge success of our last London Open House back in June, we’re getting ready to do it all again. Like our hugely successful PBLA Open Houses, this event is an opportunity for prospective students to check out the unique creative environment and state-of-the-art equipment on hand and take part in a two free tutorial sessions with established music industry guests. It will be taking place on Friday 9th September but remember, places are limited and registration is a must. You can register for your FREE tickets here.

IMG_5060

Kicking the Open House off will be the in-depth studio tour, followed by a Q&A session where you can raise any questions you may have about studying at Point Blank. This will be followed by an Ableton Live Deconstruction led by Lead Course Developer Ski Oakenfull. These sessions are always popular and this time Ski is pulling out all the stops by bringing his Ableton expertise to the iconic ‘Sign o’ the Times’ by Prince. Ski has previously broken down tracks from the likes of Kraftwerk, Moderat, Caribou, Disclosure and many more, but this one looks to be truly unmissable.

Point Blank Studio 1 SSL

Rounding off the evening with be an Ableton Live Production Masterclass with acclaimed producer and Monkeytown Records affiliate Alex Banks. The Brighton-based house artist, who is currently working on his follow-up to his acclaimed 2014 debut LP Illuminate, will be drilling down into his approach to production and offering insight into his working process.

For full timings and address, check out the schedule of the day below and don’t forget to RSVP to reserve your free tickets as places are limited.

Friday 9th September, 6pm – 8:30pm, 26 Orsman Road, London, N1 5QJ.

6:00pm – 7:00pm: Studio Tour and Q&A
7:00pm – 7:30pm: Prince – Sign ‘O The Times: Deconstruction in Ableton Live with Ski Oakenfull (Lead Course Developer – Point Blank)
7:30pm – 8:30pm: Ableton Live Production Masterclass with Alex Banks (Monkeytown Records)

open_house_Sept_09_v1

Enjoying the brand new facilities of our second London studio complex comes as part of studying our all-encompassing BA (Hons) Music Production & Sound Engineering degree. If you would like to speak to a Course Advisor about this or our other diploma courses in London,  please contact us using our contact form here or call 020 7729 4884. If you’re an international student, please call +44 20 7729 4884. Can’t make the Open House? Book a space on a studio tour.

Register to Access Free Courses, Plugins, Projects, Samples & More

When you register with Point Blank, you access an array of free sounds, plugins, online course samples, access to our social network Plugged In and much more! Simply register below and visit our Free Stuff page to get your hands on a range of exclusive music-making tools and tutorials provided by the team. Fill your boots!

The post PB London Open House: Ableton Live Masterclass and Deconstruction – Friday 9th September appeared first on Point Blank’s Online Magazine.

Read more here

Dance Music Evolution: History of House Music

Dubspot’s Rory PQ takes us through history back to the origins of House Music and explores the genres explosive cultural evolution.

House Music

House Music Evolution

House Music is a genre of dance music that has spread like a wildfire across the world. It has been keeping people dancing for well over 20 years and has become a lifestyle many have come to love and appreciate. Deriving from Disco, House Music has evolved into many sub-genres that have gained mass appeal and will continue to grow exponentially. Let’s explore how this niche underground sound was born and how it became globally recognized as the soundtrack to the club culture that exists today.

House Music Origins

No other music movements have gained as much critical mass as House Music. House Music was the first direct descendant of Disco. It’s said that “House was born from the ashes of Disco,” covered further down about ‘Disco Demolition Night.’ Disco emerged in the early 70s as an underground movement born out of the urban gay culture in New York City. Predominantly Gay, African American, and Latino communities popularized underground clubs and accelerated dance music culture. These clubs acted as safe havens for homosexual partygoers to dance in peace and enjoy an euphoric experience away from public scrutiny. Legendary clubs such as New York’s ‘The Loft’, ‘Paradise Garage’, and Chicago’s ‘The Warehouse’ set the stage for modern club culture and catapulted the club DJ to rock star status.

Early Mixing Techniques

Early producers and club DJ innovators such as Frankie Knuckles, Larry Levan, DJ Ron Hardy, and the Hot Mix 5 played a major role in evolving Disco into early House Music, forever shaping the modern dance scene.

 

House Music

Frankie Knuckles and Larry Levan

Club DJs began exploring mixing and beatmatching records, applying editing techniques, playing narrative DJ sets, and experimenting with innovative ways to overcome the limitations of the DJ equipment in those times. Many of these DJs helped merge the roles of DJ, composer, producer, and remixer by creating and playing their own edits of their favorite songs on reel-to-reel tape. Some even took the music to the next level by mixing in effects or using drum machines and synthesizers which introduced the consistent 4/4 tempo.

 

Tony Moran | Reel-to-Reel Remixes

Tony Moran | Reel-to-Reel Remixes

Disco quickly became a global fad, particularly after featuring films such as Saturday Night Fever in 1977. Commercialization lead to an explosion of club culture, and the record companies were looking to cash in on the popularity. Record labels would hire club DJs to bring their expertise to the studio as a helping hand to create music they knew would hype the dancefloor, and because they already had a direct connection to the dancing public. They often supervised studio-recording sessions as well for other artists and bands. In addition, record companies began commissioning remixes in an effort to help break and popularize artists through the underground channels of discotheques.

 

House Music

Larry Levan | Paradise Garage 1978

Death to Disco

In the late 70s, Disco quickly fell out of fashion almost overnight largely due to attacks from anti-disco DJs across the country. In addition, record companies had flooded the market with Disco songs. One of the most memorable and extreme anti-disco rallies was ‘Disco Demolition Night’ at Comiskey Park, July 12, 1979. Anyone who brought a Disco album to the double-header game between the White Sox and Detroit Tigers would be admitted for only 98 cents. During the game, radio personality Steve Dahl detonated a large collection of Disco LPs in an explosion on the field. Soon after, major record companies scaled down or eliminated their dance music production divisions.

 

House Music

Disco Demolition Night | July 12, 1979 at Comiskey Park

Music Technology Influences

During these times Chicago still had a strong underground dance scene, and with the halt on dance music production, DJs had a hard time finding new music, which lead them to further explore remixing and re-editing. New approaches towards music creation lead to a sound that was deeper, rawer, and more designed to make people dance. At the same time, synthesizers and drum machines became cheaper and more accessible allowing bedroom producers to emerge. DJs and producers in New York, Chicago, and Detroit delved deeper into dance music production and began embracing these machines. It was around this time when legendary DJ Frankie Knuckles, also known as the ‘Godfather of House,’ moved to Chicago from New York. He soon became a regular at ‘The Warehouse,’ a predominantly Gay and African American nightclub. It was there that the Grammy Award winner played a pivotal role in creating the House Music scene by pioneering a new sound that fused seldom-heard disco cuts with soul music, and then adding four-on-the-floor beat loops with a drum machine. The term ‘House Music’ originated as a reference to the music Frankie Knuckles was playing at ‘The Warehouse.’ It’s been said that record stores began to sell some of these records and labeled them ‘As Played at The Warehouse,’ which became shortened to ‘House Music.’ Some other early pioneer artists that played a major role in the development of House Music in Chicago are Jamie Principle, Jesse Saunders, Chip E, Adonis, Larry Heard, Marshall Jefferson, and Steve ‘Silk’ Hurley to name a few.

 

House Music

Marshall Jefferson | Last Dance Studio 1988

The increased access to music technology continued to drive the creation of new styles. Around the mid-80s, distinct electronic music styles and subgenres began to emerge. We began hearing defined characteristics such as tempo, type of drum machines and synths used, as well as how vocals were being edited to create the music. We also began to see geographic scenes emerge with the global spread of House Music after Chicago’s record labels quickly made House Music popular.

 

House Music

Roland TR-808 Rhythm Composer | Roland TB-303 Bass Line

House Music is Here to Stay

House Music is here to stay and will continue to evolve and develop new subgenres with the help of globalization, emerging technology, and cross-genre influences. There is much more to the story, so I encourage you all to explore more of the rich and controversial history of House Music.

House Music Documentary

Pump Up The Volume: The History of House Music is recommend documentary to watch that tells the story of the social and cultural rise of House Music.

Click here to view the embedded video.

 


EDU Summer Sessions

Music Foundations Program

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, strengthen their keyboard skills, and learn valuable music theory, deepening their creative practice and facilitating effective collaborations with musical partners.

Click here to view the embedded video.

About This Program

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Most pioneering early electronic musicians had years of conservatory training in theory and performance but had access to very limited technologies. In today’s musical world, it’s the opposite: we have a powerful and versatile array of electronic music making tools at our fingertips, but often fall short in our theoretical understanding of how electronic music works.

Our Music Foundations program is designed to fill this gap and provide training in fundamental skills and concepts with the electronic musician, DJ, and producer in mind. In this course, you’ll build your chops and learn the basics of musical language and theory so that you can make and play the music you want. You will also develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, and explore compositional techniques and song structure. The weekly homework lessons for all three courses have been designed using Ableton Live, and along the way you’ll also learn the basics of Ableton and how to use it as a powerful tool to improve your musicianship in a variety of ways.

What’s Included

  • Music Foundations Level 1: Pads & Rhythmic Theory
  • Music Foundations Level 2: Keys & Melodic Theory
  • Music Foundations Level 3: Critical Listening

Additional Information

Visit the Music Foundations course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2016/08/larry-levan-thumb.jpg

The post Dance Music Evolution: History of House Music appeared first on Dubspot Blog.

Read more here

Mazex – ‘Break the Ice’: Out Now on PB Music!

Mazex’s track ‘Break the Ice’ is as guaranteed to fill you with as much happy, youthful exuberance as the sight of a toddler owning a wedding dancefloor with moves unsullied by adult self-consciousness.

This appropriately named debut track by the 19-year-old EDM producer, the latest release on PB Music and available now on iTunes, plays excitedly, breathing new life into the comfortingly familiar chord progressions which make the track instantly likeable. The chopped up vocals seem to reflect a child’s exciting yet uncomprehending world as they rush around eager to drink in as much information as possible – to be everywhere and feel everything.

Under the influence of one of the EDM’s greats Mazex made the switch from acoustic to electronic music. He said: “I have always had a passion for music but earlier I was more into playing guitar. The one person that influenced me to start producing EDM was Martin Garrix. I used to love his songs and live shows and all that inspired me to do it myself.”

Despite describing himself as “just a bedroom producer at the moment,” who uses “a pretty basic set up of a computer, a pair of studio monitors, a keyboard and an interface,” Mazex has ambitions of taking his music to an audience of epic proportions. He said: “My dream gig would be to play the Ultra Music Festival and Tomorrowland. Those are huge, but I guess that’s what dreams are for.”

Despite his big ambitions, Mazex remains modest when describing his workflow and style. He said: “My style is nothing too complicated. I like making progressive house, but I feel there’s a Mazex sound or vibe in the tracks that I make which I feel differentiates them from others. When I’m producing a new track my first focus is on making the melody. I throw in whatever comes to mind and then improve it bit by bit until it starts to sound nice and catchy to me. The next thing is making the beat/drums and the bassline.”

Like most producers Mazex matches a spontaneous initial approach with a patient and thoughtful tweaking process. He said: “I keep on experimenting with new synths and plugins to get the perfect sound which I’m trying to attain for my track. It takes time, but there’s no other way around, at least that’s what I feel.”

If ‘Break the Ice’ is anything to go by, then Mazek is definitely onto something.

Break The Ice Artwork

Getting your music signed, released, and earning money from it through our own in-house label Point Blank Music is just one of the many reasons to study with us, and it’s another way we help to connect our students directly to the industry. Throughout the duration of the course and after completion, students that sign their tracks to Point Blank Music enjoy 100% digital distribution coverage including Beatport, Juno Download, Amazon, iTunes and Spotify and extensive promotion through Point Blank’s social media, marketing and database networks. Point Blank Music releases music exclusively from our students, and showcases all of the best talent that we’re constantly developing and nurturing.

We’ll also send your tracks to the world’s top DJs via our promo system Labelworxs. DJs that have supported Point Blank Music releases include Terry Francis (Fabric), Paco Osuna (Minus), Slam and Magda. If you would like your music to be considered for the label, please submit your track to our A&R team via this submission form. If you’re thinking of studying with us why not take a tour of our London studio complex? Head to the contacts page to book a space now.

Register to Access Free Courses, Projects, Samples & More

When you register with Point Blank, you access an array of free sounds, online course samples, access to our social network Plugged In and much more! Simply register below and visit our Free Stuff page to get your hands on a range of exclusive music-making tools and tutorials provided by the team. Fill your boots!

The post Mazex – ‘Break the Ice’: Out Now on PB Music! appeared first on Point Blank’s Online Magazine.

Read more here

Ableton Live Hidden Features Revealed w/ Rory PQ

Learn how to unlock Ableton Live’s many hidden features in this guide and see a few of our favorite secret functions in action. Includes FREE Download.

Ableton Live

Ableton Live has a strong reputation for being one of the industry’s leading Digital Audio Workstations (DAW) for creating or recording musical ideas, transforming them into finished songs, and even performing live on the stage. Amidst Live’s most powerful and useful functionality is some amazing hidden features. In this guide, we show you how to unlock Live’s hidden features and highlight a few of our favorite secret functions.

The Options.txt Guide

Tucked away deep in Ableton Live’s directory on both MAC and PC is an Options.txt file that you can create or edit to access Live’s hidden features. The Options.txt file offers a way to change some of Live’s options for special circumstances. These options are mainly used for developing and internal testing. However, some of you may find them useful as well.

To get started, create a text file called “Options.txt” and save it to the same folder where Live’s Preferences.cfg file is located. The file format of the Options.txt must be plain text. Below is where to find the Preferences folder on MAC and PC (Live 6.0.9 or higher):

Mac OS X
/Users/[username]/Library/Preferences/Ableton/Live x.x.x/

Windows XP
Documents and Settings[username]Application DataAbletonLive x.x.xPreferences

Windows Vista, Windows 7, Windows 8
Users[username]AppDataRoamingAbletonLive x.x.xPreferences

Several functions can be activated in the Options.txt file. Editing this file is very simple; on separate lines, the syntax for each option begins with a hyphen and sometimes will also require an additional underscore. If you use the wrong syntax, you will get an error message when opening Live. If there is a function you wish to deactivate, place “/” before the syntax. You will also need to restart Live to activate the function.

Ableton Live

Syntax Example: -_PluginAutoPopulateThreshold=-1

There are dozens of syntaxes that can be discovered across the Internet. For Ableton Live’s supported functions refer to their Options.txt file page here.

Five Favorite Functions

Below are five of our favorite hidden features that are extremely helpful. In addition, we have included a FREE download of the Options.txt file used to unlock the following features.

[contact-form-7]

Show Device Slots

Enabling this feature allows you to view all the devices on each track from the mixer in the Session View. This feature is an efficient way to quickly activate and deactivate devices without having to open the Device View and searching through your device chain.

To enable, add the following into Options.txt: -ShowDeviceSlots

Ableton Live

Map To Siblings

This feature is by far one of the greatest time-savers and should be implemented permanently. Similar to “Copy Value to Siblings,” this addition gives you the option to Macro Map a parameter across all of the same device instances in Drum Rack to the same Macro. This feature is accessed through the right-click context menu and eliminates the time needed to map each parameter individually.

To enable, add the following into Options.txt: -EnableMapToSiblings=1

Options: 0=Off, 1=On

Ableton Live

Arm On Selection

This feature will automatically Arm any track when selected. This addition may be useful for those working with external instruments in live performances or even in the studio. However, it can be a pain to deal with sometimes.

To enable, add the following into Options.txt: -EnableArmOnSelection

Ableton Live

Thinning Aggressiveness

This feature is another great time-saver when recording automation data. Depending on a pre-defined value, Live will smooth out all the breakpoints automatically after recording automation if you want more consistent automation lines. Alternatively, if you wish to remove breakpoints, you can hold down Shift while dragging to eliminate breakpoints as you wipe over them.

The default value is = 0.45

Higher value = More breakpoints eliminated

To enable, add the following into Options.txt: ThinningAggressiveness=0.80

Thinning Aggressiveness Off

Ableton Live

Thinning Aggressiveness On

Ableton Live

Plugin Auto Populate Threshold

This feature automatically populates the parameter list for any plugin you load. Located on the Device Title Bar is an “Unfolded Device Parameters” that reveals a panel where you can add useful parameters that can be adjusted without accessing the plugin. You can manually add available parameters by clicking the “Configure Mode” button, accessing the plugins GUI and selecting the parameter you wish to add. To save time, this feature allows you to auto populate the panel with a set value of available parameters.

Default = 32
Min = 1
Max = 128

“-1″ will always populate the list with max. 128 parameters, regardless how many parameters the plugin has.

To enable, add the following into Options.txt: -_PluginAutoPopulateThreshold=32

Ableton Live

 

 


Ableton Live Producer Certificate Program

At Dubspot our world-class instructors provide the most complete and cutting-edge Ableton Live learning experience. The Ableton Live Producer Certificate Program is the flagship of our music training. After completing this program, you will leave with a portfolio of original tracks, a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

Click here to view the embedded video.

About This Program

This program is about learning Ableton Live by going through the entire process of being an artist, by developing your own sound through a series of sketches and experimentation. You will also learn the ins and outs of this powerful software through a series of exercises designed to help you master the steps involved in producing your own music. After a level of getting familiar with the tools that Ableton has to offer, you will then develop your sonic ideas into full-length tracks. You will be exposed to a variety of approaches to arrangement and composition, storytelling techniques, ways of creating tension and drama in your music. At the end of the day, it is the sum total of your choices as an artist that define your sound, and levels 2 – 6 will give you the experience of actually completing tracks to add to your portfolio.

What’s Included

  • Ableton Live Level 1: Beats, Sketches, and Ideas
  • Ableton Live Level 2: Analyze, Deconstruct, Recompose, and Assemble
  • Ableton Live Level 3: Synthesis and Original Sound Creation
  • Ableton Live Level 4: Advanced Sound Creation
  • Ableton Live Level 5: Advanced Effect Processing
  • Ableton Live Level 6: Going Global with your Music

Overview

  • Dubspot’s complete Ableton course load: six levels/48 class sessions
  • 132 hours of hands-on instruction
  • Additional lab hours to work on assignments in Dubspot’s onsite facilities
  • 24/7 access to Dubspot Online’s Ableton Live course videos
  • Access to the course videos for one year after course completion

Additional Information

Visit the Ableton Live course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2016/08/Ableton-Hidden-Features-Thumb.jpg

The post Ableton Live Hidden Features Revealed w/ Rory PQ appeared first on Dubspot Blog.

Read more here

The best Ableton Live Effects

The Best Ableton Live Audio Effects – And how to use them

Ableton Live has several wonderful plug-ins that you’d expect to find in any DAW. It’s compressor, EQ-8,
and glue compressor are regarded as some of the best in the market. Ableton Live also has, however,
several unique plugins that are unlike what many of its competitors offer and each one is capable of
being used to sculpt your sound in compelling ways. These three effects strike a blend between being
unique and useful, with some playing both roles very well. The goal of this article is to outline what they
are and what they do, and give you some guidance in getting started with the effect. Enjoy!

Auto-Pan

1Auto-Pan is a wonderful tool, and one of my favorite
stock plugins once I learned how powerful it is. At its most
basic, it is a simple plugin that helps you add stereo motion to
our tracks by causing the output signal to be modulated from
left to right. We can set several parameters, from choosing
how far to modulate it (100% means the signal goes full left,
then full right), the rate we modulate at (Hz and tempo-synced
options), phase options, and the shape of the wave and how
much “hardening” is applied to it.

A common misconception is that this plugin is actually “moving” the signal in the stereo field. In
fact, all it’s really doing is a bit of volume automation. When the signal moves left, the plugin is just
increasing the Left channel’s volume and decreasing the Right channel’s volume, for example. Knowing
that it simply performs volume automation, however, means that we can use it for other effects as well.
The key setting is the “phase” setting. When the phase is set to 180 degrees there is a full wave cycle
between the L/R channels, meaning that the two channels have opposing amplitudes (in this case,
opposite volumes). So when the L channel is peaking, the R channel is at its lowest. If we set the phase
control to 0 degrees, there is no difference between the channels and they are automated as one unit.
This allows us to create vocal stutters. As we increase the phase separation, some stereo effect will
return bit by bit. Attempt to play with different waveforms to get more of a feeling for this, and try
playing with the shape control (as this further modifies the wave applied in interesting fashions).

Auto Pan can also be used to automate between two completely separate audio tracks- like
bouncing between two different breakbeat samples, for example. We can do this by setting our first
Auto Pan plugin to create a stuttering effect on our first track. Generally, we should keep the
automation sharper and more noticeable so that things don’t clash in the next step. Then, simply copy
your Auto Pan instance on the first track to the second. The only change you’ll make is clicking the
“Normal” button in the lower left. This will invert the signal on the second track. It’s like we set our
phase to 180 degrees and made one track the Left channel and the other the Right. Now, it will seem
that we are rhythmically cutting between the two tracks. It’s a great way to add some backing rhythmic
complexity to your tracks, or increase the groove considerably!

Grain Delay

2

Grain Delay is definitely one of
the best Ableton Live audio effects-
and also one of the hardest to get
used to at first. Differing from
conventional delays, it slices the
incoming audio into a number of grains and then modulates the grains individually.

It appears to be a hard-to-use effect, but the effect is one that becomes far easier to understand and
use when given a bit of information and some time to experiment. The hardest thing to initially grasp can
be the XY modulation matrix, or the box that dominates most of the plugins presence on a channel. On this grid,
you can assign parameters to an axis by clicking a parameter. So clicking frequency on the left and spray
along the bottom makes the X (left/right) direction of the matrix control spray, and the Y (up/down)
control the frequency parameter. When not highlighted, the parameters can still be adjusted freely but
are independent of the movements of the matrix. Each parameter modulates the grains differently.
Spray adds random changes to delay time between individual grains, and at high settings will completely
change the source signal. In my experience, it produces a textured effect that can add some lovely
accent to sustained notes or long vocal samples (at the lower settings, of course). Frequency controls
the sampling rate of the effect, so the lowest value of 1Hz means that its sampling at a rate of 1Hz and
can be increased to sample 150 more grains per unit of time at 150Hz. The parameter labeled “pitch”
simply transposes the grains in pitch according to how it is set- “Random Pitch” is another matter,
however. This parameter does what it says, randomly varying the pitch of individual grains up and down
within a range set by “Random Pitch”. At low values it sounds somewhat like a chorus effect (as its
pretty much doing what a chorus does) but large values are good for waking you up, if you happened to
be falling asleep at your desk. The same warning applies to the feedback parameter, of course. This is
much the same as it is on other delays, controlling how much of the output signal is fed back to the
input and thus lengthening how long the delay lasts. At high values it can cause a runaway feedback
loop though, so be careful and watch out for your ears!

One of my favorite uses for this effect is to lightly apply it on some vocals, as it can really give
them some lovely texture and movement. I’ve found that leaving the pitch settings alone and adding a
touch of spray while keeping the frequency in the 8-15Hz range works well. Now that you know what
each parameter does, the best way to figure this plugin out is to just throw tons of different things
through it- vocals are a start, but drum tracks can be fun too. Pads can produce fascinating grainy
atmospheres, and pluckier synth leads get decimated in the neatest ways. This effect tends to be so
radically different from most other effects in the Ableton Live stock plugin pool that just about
everything you do with it will produce interesting results, even if some are a little less musically pleasing
than others. Do maybe consider wearing headphones and letting the dog outside however– the
feedback setting doesn’t mess around.

Multiband Dynamics

The Multiband Dynamics plugin in Ableton Live is a wonderfully capable multiband compressor
that comes stock with Ableton. Most compressors will compress and modify the entire input all at once.
The multiband compressor allows us to individually compress and boost/cut the three core audio bands
(Lows, Mids, Highs). Multiband compression is essential for good mastering, and really helps to bring out
the character of individual instruments and tracks in our music.

3

When first dropped onto a track, the three bands will be immediately apparent. The High and
Low bands can be turned on and off by hitting the corresponding buttons, whilst the little yellow
buttons to the right of these buttons enables and disables the dynamics processing element for that
channel. S is the usual solo button, and each channel has its own gain-in control. On the bottom, we can
choose to enable Soft Knee compression (meaning the compression is applied gradually near the
threshold) and choose between Peak and RMS modes (RMS is good for less intense audio, Peak is best
for controlling rapid transients or peaks). We can also change what frequencies make up each band,
with the sliders below “Low” and “High”. The mids will just always be whatever doesn’t go to the others.
From there, we can adjust the compression controls more in depth. In the lower right of the display we
can see the “T-B-A” buttons. T is for our time controls, affecting the attack and release settings of the
compression on that channel. The B and A sections both have threshold settings and ratio settings. The
threshold sets the level at which the compression ratio specified is applied. The ratio values here can be
pretty confusing at first, as positive ratios have differing effects on the B and A sections. For the “Below”
compression, a positive value will pull the audio up to the threshold level, and usually boosts it a bit past
this level. If set to extreme values, it may get weird and boost it way past the threshold, so don’t have
the volume up too high! Conversely, the “Above” compression pushes audio back down towards its
threshold value. It works more like a conventional limiter, so to speak.

With these two compression “types”, so to speak, we can exercise really fine control over our
audio across the three main frequency bands. An example scenario (much like the one covered in the
Glitch Hop Start-to-Finish course, if you’d like to see it in action) is to restore a bass sound’s highs and
mids. Often, when we create a bass sound we’ll find that it lacks content anywhere except the lows, or
that the FX-chain we apply considerably dampens these regions. This is perfectly okay if we want that
sort of sound, but sometimes we want those crispy highs and warm mids. By tweaking our compression
values to pull up the mids and highs, and limit the lows a bit, we can bring these regions up among the
low end and restore the sounds we miss to our audio.

I found out the hard way that applying compression after reverb will make your mastering
engineer quite cross. I can’t recommend it! However, the rule of “If It Sounds Good, It is Good”, trumps
all. And in the case of multiband compression, there is a certain type of sound that really benefits from
post-reverb compression: Snares. If we put a reverb on a Snare, we can face the inverse of the problem
mentioned in the example above. The highs can end up emphasized, and the low-mids and the
important (and delicious) transients can be buried. Multiband compression after a ‘verbed Snare has a
unique, and in my opinion, lovely sound. The reverb lengthens the tail of the sound and fattens it up
overall, and the multiband compression ensures we still get our punch!

Besides restoring any channel into a fairly level output, this plugin can also be used with effect
racks to split the audio into different ranges so that each can be processed separately. This allows us to
add FX best suited to the frequency ranges involved. Low frequencies and reverb usually add to create a
muddy mix, for example, so splitting it off can stop this. It can also be used as a more refined bus
compressor, applied on a group of drum sounds to “glue” together the group, while leaving us able to
adjust the compression and gain for each range independently. Essentially, this plugin can function as a
regular ol’ compressor, but when you think carefully about how to use its band-splitting and
compression to your advantage it can be used for focused loudness optimization and band-applied
effects without compromising definition. It’s a boring name, and it isn’t as exciting as the grain delay,
but I imagine it will quickly become one of your favorites.

I hope this article was helpful to you, and helps you find use for some of the best Ableton Live
audio effects. These usually don’t get as much love or recognition as some of the more standard audio
effects in Ableton Live, but I imagine that once you use them you’ll find a place for them in much of your
work. The Auto-pan tool has become one of my favorites, as the simple effect it applies can really do
wonders for a track. If I hadn’t looked around though, I probably would never have used it! So, get out
there and experiment like mad with the best Ableton Live has to offer.

The post The best Ableton Live Effects appeared first on BassGorilla.com.

Read more here

Monthly Round-Up July 2016: Sónar 2016, Plugin of the Week + More

July 2016 was packed with exciting developments here at PB HQ. As always, we were busy sharing videos, production tutorials and exclusive free content with you to help you take your music-making to the next level. What’s more, we launched a brand new Facebook Live series and hit the road, presenting a series of masterclasses at this year’s Sónar Festival. Check out our monthly round-up below as we recap some of the highlights. To see each post in detail, click the corresponding title to be taken through to the page. And for those not already in the know, make sure you’re subscribed to our YouTube channel and following us on Facebook and Twitter so you never miss out on our cutting edge content.

New Order – Blue Monday Ableton Live Deconstruction @ Sónar+D 2016

In 1983, New Order created a timeless classic that’s celebrated as one of the most influential tracks of all time. The Manchester band are still going strong some three decades on, stepping up to headline Barcelona’s Sónar Festival in July. Indeed, when we were asked to take part in Sónar+D – the educational arm of the famous festival – it was a no-brainer that we’d honour them by giving the iconic ‘Blue Monday’ our world-famous deconstruction treatment.

New Series: Plugin of the Week

As part of our brand new series of Facebook Live streams, we’re taking a short and snappy look at some of the best plugins on the market to keep your inspiration flowing. In this broadcast, recorded live out of our buzzing Hub at Orsman Road, we spotlight AudioThing’s Valve Filter VF-1 – a simple, affordable and affective filter plugin. To watch Plugin of the Week live make sure you follow us on Facebook.

Composing for Film & TV (Part 2): Live & Sampled Strings

Back in November 2015 we teamed up with the highly respected Morley College to bring you two exclusive workshops focusing on composing, scoring and recording for film. In the second of these sessions filmed at our new studio complex, sound designer Adam JB (Eric Prydz, Channel 4) takes the recorded strings from the previous workshop and explores some production techniques to enhance the sound with recorded sound libraries.

Check Out These 10 Tips to Better Drums in Your Tracks

Point-Blank-2016-1928-copy-1

Your drum sound can make or break your track. Get them wrong and the rest of your song will suffer. With so many tones, textures and types, ranging in pitch, sound and size, there are thousands of variables – and decisions – that go into choosing, recording, sampling and mixing your drums. Of course, our London courses involve getting stuck into a huge range of concepts for recording and programming powerful, dominating drums so we thought we’d cherry-pick ten of our favourites to get you started towards better beats.

Register to Access Free Courses, Plugins, Projects, Samples & More

When you register with Point Blank, you access an array of free sounds, plugins, online course samples, access to our social network Plugged In and much more! Simply register below and visit our Free Stuff page to get your hands on a range of exclusive music-making tools and tutorials provided by the team. Fill your boots!

The post Monthly Round-Up July 2016: Sónar 2016, Plugin of the Week + More appeared first on Point Blank’s Online Magazine.

Read more here

Weird Gear – From the Pacemaker to the Fretless Fader

Electronic music is generally regarded as pretty cool. Hipsters will argue about the quality of vinyl, vacuous celebrities will upload instagram pictures of themselves ‘DJing’ and everyone you know – and their flatmate, and their flatmate’s ex – regularly goes to festivals.

However once upon a time, electronic music was a fairly niche concern. Whilst there was still a healthy, emergent underground scene, it’s been conveniently forgotten that not so long ago an awful lot of electronic music was hugely, gloriously nerdy. Don’t believe us? Take a trip into some of the most bizarre tech that’s emerged over the last decade or so. Remember, people really used this stuff.

The Pacemaker

Let’s start with a favourite. Named after a device designed to keep your nan alive (useful, but cool..?) the Pacemaker was designed to “remove the inconvenience of having to take DJ kit everywhere”. Because every aspiring DJ just dies with embarrassment when they find themselves at a house party surrounded by decks.

Besides, it looked like a failed flip phone. Whilst allegedly the mixing was fine, people just couldn’t quite adjust to the fact that when used in a club environment it just looked like the DJ was texting his mates. It was released around the time that people start getting heavily into smarphone apps too. That didn’t stop Richie Hawtin gracing the cover of Mixmag holding one while the whole industry went dizzy with excitement for a few months.

ModularGrid Mixers

MODULARGRID

Admittedly this one does get the Point Blank staff here a little tickled. It’s a mixer you can make yourself. The possibilities are endless – all the faders you can eat! Even more knobs than the VIP area! Rows of useless but really cool lights!

The only problem is every single module is pretty pricey, given they’re all self contained in their own boxes. Which means all together your homemade mixer ends up being more expensive than a – let’s be honest – better put together mixer by Pioneer or Xone. They’re so expensive in fact, that when searching on the internet for modular mixers you’ll mostly end up with pictures like the above: yes, that’s photoshopped. We’re not fully convinced anyone ever made one of these.

Alesis AirFX

This writer actually used to own one of these. It’s a 50-odd setting effects unit that you control by waving your hand above it. Which, after eight vodka red bulls, makes you feel like Gandalf at your local bar residency. Unfortunately it wasn’t very practical.

Fretless Fader

At first glance, this is actually pretty badass. A fader that goes up and down, as well as side to side (sorry: that can be realised along both the X and Y axis, simultaneously). It’s the work of an individual named John Beez, who intends to sell it eventually. At first glance it looks incredible, but there’s a few gigantic caveats. The first: you need a turntable with midi pitch, which isn’t cheap. Secondly, we can’t help noticing it’s always the same kind of hip hop with an 8-bit lead that he plays in the demo videos, which makes us suspect that it’s not going to sound great with anything else.

Haken Continuum

It’d be interesting to see how many people bought this on the name alone, only to be infuriated that it wasn’t actually a spaceship. The Haken Continuum is essentially a big red keyboard, albeit the keys appear to be touch sensitive and have some element of 3D interactivity too. It’d probably be cooler if it could play several different instruments at different sides of the keyboard rather than low-key murder music but hey, we don’t make the rules. To add to the suburban murder vibes, you can also buy a stand that looks like it belongs in a sex dungeon. Whoever said music teachers had dull lives?

Prolight Laser Harp

It is beyond us why the EDM world didn’t collectively lose their mind over this one. I mean it’s garish, tacky as hell, and not particularly musical but it would probably look pretty balling to the right kind of crowd. It looks to us like there’s a bit of lag on the actual lasers/midi and we’re not sure if you can get any velocity variation. But that doesn’t matter when you’re 22 and eight shots in.

Theremin

You might not have heard of it, but you’ll have definitely heard it’s sound – most likely in some old school sci-fi or comedy. The Theremin has been around for decades, but despite several flirtations with the mainstream, it never really broke through. Maybe because the idea of playing an instrument just by moving your hands through the air may seem pretty neat, actual performances tend to wind up looking a little… strange.

Midi Flute

Yep. Yamaha made these. We’re not sure what the point of them was, but these could’ve kept tropical house alive, at least by sheer comedy value. Skip to 1:20 when the dude plays guitar on his flute and ask yourself how we live in a world where things like this could happen.

We’re now curious as to how all these weird and wonderful bits of kit would sound if combined? Has a band ever done this?

Yes, they have…

Register to Access Free Courses, Plugins, Projects, Samples & More

When you register with Point Blank, you access an array of free sounds, plugins, online course samples, access to our social network Plugged In and much more! Simply register below and visit our Free Stuff page to get your hands on a range of exclusive music-making tools and tutorials provided by the team. Fill your boots!

The post Weird Gear – From the Pacemaker to the Fretless Fader appeared first on Point Blank’s Online Magazine.

Read more here

Dubspot Radio Podcast: Nihal Ramchandani (Innigkeit Mix) + Interview

Nihal Ramchandani (Hotflush, Halcyon) brings his impeccable taste to the Dubspot Podcast series with “Innigkeit,” a heady mix of ambiance and experimental sounds that he holds close to the heart.

Nihal Ramchandani

Nihal Ramchandani is one of those people who just seems to get it… someone with the right attitude and impeccable taste in music who everyone seems to love. He’s not one to promote himself but simultaneously he’s one of those DJs who gets credit constantly as a result of his unique style (and a sick collection of tunes.) Nihal made his way onto the scene as part of the Hotflush team and simultaneously worked for Halcyon records, sharing his love for vinyl with other record junkies. Over the past several years, he’s refined his sound and has become quite popular amongst the industry’s tastemakers with his live DJ sets and numerous mixes online. His podcasts for Table Tennis and Hotflush have yielded interesting combinations of deep mood, hints of techno, a dash of dub, and a critical ear for electronic music without regard to genre. We are very excited to bring Nihal into the Dubspot family with this podcast, a special blend of sounds that he holds close to the heart. Nihal explains the mix in his own words:

“The title of this mix is “Innigkeit,” a German word I came across in my studies. Its meaning harkens back to the Romantic composers of the early nineteenth century who started feeling secure in their expression. Social forces from the church and aristocracy became weaker, so composers felt less pressured to impress an audience. Essentially, they started making music for its own sake, looking inward, and reaching toward the ineffable. All of the records I’ve selected for this mix take me personally to that place beyond (you know the one), so the name “Innigkeit” seemed appropriate. Some of the transitions may sound a little awkward; only two of them are beat-matched, but hopefully you enjoy the music. Throw it on your headphones. Many thanks to Sougwen for creating the beautiful artwork.” – Nihal Ramchandani

 

.

Nihal Ramchandani Interview

Nihal Ramchandani

I see your name on flyers all the time for events in NYC. What parties/clubs have you played?

I feel fortunate to have played at some amazing parties. There are a few that stand out in particular: the first edition of Dave Q’s party named Twisup; the first edition of a dubstep party named Reconstrvct; Juan Gaviria’s Den of Thieves; Opening for SBTRKT at Electric Zoo; Tagging with Nooka Jones at Percussion Lab.

What styles of music do you usually play?

It depends on the context. Some crowds are open to weirder, more psychedelic music. Other crowds just want to freak to some booty bass. Playing in different contexts always excites me. The challenge of figuring out what the crowd likes and then leading them into territory they usually don’t explore never gets old. My record collection extends well beyond what I play out in clubs. There is a wealth of fresh sounds developing in the different scenes around New York and beyond. I don’t see the point in genre discrimination. I go to and play at very different parties. A footwork tune made in 30 minutes with pirated software can work just as well as a finely-crafted heady techno record made with tons of analog equipment. Again, it just depends on the context.

What’s your DJ aesthetic?

Well like I said, the context doesn’t always allow certain styles of music to be played. In an ideal situation, though, meaning the crowd is open-minded and willing to dance interesting sounds and really listen to the DJ, I would just play my favorite tripped-out records. Music with psychedelic qualities really messes with your mind when everything is correct at the venue. I once saw Donato Dozzy and Nuel play an 8-hour back-to-back set at The Bunker. The sound system was fantastic, and the room was spare and dark. There wasn’t a single moment when I felt like leaving. Their aesthetic has had a massive influence on me. The transitions were smooth and simple – subtle work with the faders and EQs. Through careful, sensitive selection, they slowly and gently ease the crowd into a trance. At the risk of sounding cliché, It really was all about the musical journey, the trip. That set was probably the most inspiring night of music I’ve experienced. Way out in deep space is the place. Trippy music for losing yourself, a quality not specific to any one genre or mood. It can be dark and pounding, or deliver something groovy and floaty. “Innigkeit” goes through many different moods, but all of the music retains these psychedelic qualities (to me at least). Variety is important. I try to connect the dots among different styles into something sonically coherent.

How did you get involved with Hotflush and what do you do with them?

I had heard a few opening sets from Alex Incyde at Dub War that I really liked; he was a resident when the party was still around. We met at The Bunker one night and started chatting. He mentioned that Hotflush needed an intern. We have similar interests in music, so it just made sense. He lives in Maui now, but spending time with him while he lived in New York was always something I looked forward to. It’s made me happy to see how he has progressed with production as well. He introduced me to a lot of new stuff – music and beyond. I used to do different tasks for the label here and there: things related to licensing, fighting piracy, social networking, promoting new releases, etc. – basically whatever Alex asked me to do. He and Paul handle much of the work now. I did a podcast for Hotflush, which was a cool opportunity. Now I just rep them and don’t do as much.

How did you get involved with Halcyon and what did you do with them?

In my previous visits to New York, I had stopped at Halcyon to go record shopping. I met the owner Shawn at a DJ night and asked if they needed any help around the shop. I started interning there for a while and eventually became an employee helping out customers or doing data entry and the like.

How old were you when you started DJing?

My older brother got me into electronic music. I got my decks when I was 13 and played my first gig in Houston at 15. The local techno crew there let me open one of their warehouse parties.

How did you learn about so much music at a young age?

Ah well, I don’t think I know that much about music compared to some other young people I’ve met with some insane encyclopedic knowledge. I really struggle to keep up with new releases haha, but then again most people do now. I guess one thing I learned from early on is to be open to all music. Even if you think some particular musical sub-culture is stupid, try and make an effort to understand why others enjoy it. Learning about the qualities of a specific style may help you foster an appreciation for it. Like with anything I suppose.

Why did you decide to release this mix without a tracklist and if we freak out about a track on the mix will you tell us what it is?

I want people to listen to it without knowing what’s coming. After they listen to it, I have no problem identifying a record for them.

Who is inspiring you in the realms of electronic music these days?

Too many to mention! Surgeon, Peverelist, Donato Dozzy, Raz Mesinai, Adrian Sherwood… the list goes on. There is too much incredible music out there.

You mention juke music in one of your responses. Are you into the juke/footwork scene that is happening?

Yeah. I used to be dismissive of it because of how rudimentary many of the tracks sound, but if the criteria we use for judging art only focuses on the craft, then we would all be listening to Rachmaninoff or something, you know? The WALACAM videos on youtube are awesome. The music makes total sense in that context. What interests me in particular is that the stylistic qualities of footwork music are dictated to some extent by the dancers themselves. The main reason why it’s at 160 bpm is because people just got really good at dancing and needed faster music. Inventive use of polyrhythm also creates some really bizarre grooves that work so well with that style of dancing.

Do you make music? If so, what platform do you work with?

Yes, though I haven’t made anything I’m happy with yet. Three main tools: Ableton, Maschine, and my guitar.

 


DJ Extensive Program

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato Scratch Live and Traktor Scratch Pro.

Click here to view the embedded video.

About This Program

At Dubspot you’ll be working at personal student workstations equipped with industry standard and cutting-edge technology: Technics SL-1200 / 1210 series turntables, Pioneer CDJs, Pioneer DJM or Rane TTM mixers, Apple iMacs and MacBook Pros, Native Instruments’ Traktor Scratch Pro, Serato Scratch Live, vinyl, CDs, timecode, and MIDI controllers.

Our instructors teach you the necessary techniques and draw on their vast collective experience to give you insight into the mindset, workflow, and art of DJing. Graduates of the DJ Extensive Program will have an opportunity to perform at an event in a New York City venue, organized and promoted by Dubspot together with you and your fellow students. At Dubspot, we want you to do more than just learn. We want you to be great at doing what you love. Let us help you get there!

What’s Included

  • DJ Level 1: Rookie Sessions | Essentials I
  • DJ Level 2: Phrase Mixing | Essentials II
  • DJ Level 3: Beyond The Blend | Intermediate Skills
  • DJ Level 4: Preparation | DJ Psychology
  • DJ Level 5: Classroom to the Club | Advanced Techniques I
  • DJ Level 6: Club to the World | Advanced Techniques II

Additional Information

Visit the DJ course page for detailed information on this program here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2016/08/Nihal-Ramchandani-Thumb.jpg

The post Dubspot Radio Podcast: Nihal Ramchandani (Innigkeit Mix) + Interview appeared first on Dubspot Blog.

Read more here