Unique and creative underground electronic music loops and samples for modern producers.

Subscribe to Point Blank Music to Win an Online Course, Worth £1,290!

If you haven’t subscribed to Point Blank Music yet, what are you waiting for? Not only will you be the first to hear brand new music by tomorrow’s biggest names (bragging rights as standard), but you could land yourself one of our Complete online courses, worth £1,290.

In 2011 we launched our own in-house label as a way to showcase the incredible talent of Point Blank students and alumni. In March, we embarked on phase two and launched the Point Blank Music YouTube channel as a platform to push the music even further and – along with label partners including Axtone, Defected, Toolroom, Cr2 and more – give the artists we believe in a chance to be discovered by music fans across the globe. Now, to help us get the word out, we’re offering one lucky subscriber the chance to win one of our two-week long online courses – all you have to do is subscribe to Point Blank Music before 5th June to be in with a chance of landing the prize.

Online CourseOur online courses offer 1-2-1 tutorials between you and your instructor every two weeks

Maybe you’ll even be the the next break out star of Point Blank Music? The prize includes a choice of one of our Complete courses, all of which run for four months – choose from Complete Mixing and Mastering, Complete Electronic Music Composition, Complete Electronic Music Production, Complete Ableton Live or Complete Logic Pro. If you’ve not signed up to the channel yet, you best head on over and get to know – so far we’ve released brand new music from rising stars including Fake Bear, Sub One and our latest signee, the South African house producer So Schway. 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. Our Online Music Production Master Diploma is not only the most comprehensive course available online, but it offers 1-2-1 tutorials between you and your instructor every two weeks, alongside live masterclasses and the opportunity to received customised feedback for your work as you progress.

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!

ONLINE w outline

The post Subscribe to Point Blank Music to Win an Online Course, Worth £1,290! appeared first on Point Blank’s Online Magazine.

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Proudly People - Music production Q&A

Q&A with Proudly People

Tell me about your musical background. How did you wind up producing electronic music?

Everything started mid october 2011, date when Proudly people born. At that time we wanted to bring together sounds we’ve been focusing on to compose the story of our tracks.

Our first track got inspiration from  people like tINI, Yaya, Enzo Siragusa or every single dj that was playing this rolling slow and deep tech house.

From the beginning we knew and we wanted to create our own music , to make it unique so people could instantly recognise our touch.

At some point the electronic scene has been producing to similar EPs, and that kind of style started to lose a bit of its charm and originality. Thats why when we start to have this feeling, we generally worked on new projects influenced by new flow of inspirations. Thats how we ended up moving on a Tech House full of synths and shaky rhythms.

For someone who has never heard Proudly People’s music before, can you explain what they can expect?

We will warn him to get ready to listen to Warm Bass, Strong Drums, Vocals, Background sounds and all this surrounded by the synths.

What DAW you prefer?

When we started to produce, we discussed a lot about this point, for us the best way is always to compose our ideas in the fastest way we can. After testing different softwares we decided that Ableton Live is the one for us.

Sometimes inspirations come once and it’s important to produce it on the spot so you don’t lose it.

What’s your opinion in using loops and samples

You can use loops, samples, you can cut them, but never forget that they come from other people works.

Knowing that you must work on them like a proper sound designer. In that way you will always avoid doing simple copy/paste coming from other producers.

What piece of hardware you can’t live without? Why?

We started using analog machines 2 years ago. We bought our first proper audio interface and some cool stuff to create strong drums and fat basses but undoubtedly you must try once in your “producer life” the Moog’s sound lab.

Tell us a little secret about a technique you are using in your music?

Well, there is not a specific rule in what we do, for sure the most important thing is to create every single sound in the best way you can. 

Another important aspect that we always handle in our music, is the mix.

The mix helps you to clear the sounds, to open it in a stereo image, in fact with a clear mix you can understand more what the artist try to pass down to the people.

We got also a lot of requests about our way to work the kick and bass and why we use reverb in our sub frequencies.

Generally the kick and bass are mono, to be more precise if you use a stereo analyzer, you cut the mid sounds after you put kick and bass in solo, you have no sounds on the side. 

We do often experiments, for example recently we wanted to see what happened if you open a reverb on a distorted kick and bass. The sensation is to have a fat kick and bass, that they spread out.

Can you give an advice for new producers and sound designers ?

Our best advice to new producers would be to apply our first and only rule: Always create something unique, it is the only way to get support and consideration from the music scene.

And to achieve that: test, test and test more so you always end up with new amazing sounds.

Find more about Proudly People’s work here:

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House Racks: A modern toolkit for classic house

A new Pack from Rack specialists UNDRGRND SOUNDS is bringing an impressive range of house music’s most significant sounds to Live and Push users in a single package. With recordings of vintage hardware within eleven tweakable, multi-sampled Instrument Racks, it’s a go-to source for those looking for classic house sounds…

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Music Production – Back in the 1930’s

Back in the 1930’s, the music realm was characterised by bold inventions and free thinkers. Combining ideas with emerging technologies and daring concepts, music composers and inventors worked together to create some revolutionary technologies. Considered the first electronic rhythm machine, the Rhythmicon was such an invention that changed the perception regarding the sequence of rhythms and overtones.

The idea dates back to 1916 when the American composer Henry Cowell started to work on a keyboard that could control tonal sequences, overtones and rhythms. However, the machine became real only in the 1930’s when Cowell shared his idea with Leon Termen, a renowned inventor. Termen took the challenge of building a machine that could transform harmonic information into rhythmic data and the other way around.

What was the machine actually about? Taking inspiration from his previous invention, the Theremin, Termen created a 17 key polyphonic keyboard that used heterodyning vacuum tube oscillators. The machine produced a single note that was repeated in a periodic rhythm generated by rotating disks. The sequences, pitch and tempo could further be adjusted by levers.
In order to illustrate the complexity of his invention, Cowell composed two special Rhythmicon works, “Rythmicana” and “Music for Violin and Rhythmicon”. Over time Cowell lost interest in the machine but its functionalities were adopted by psychological researchers and even brought back to life by producer Joe Meek. The invention was also used to produce music and sound effects for different movies from the 50’s and 60’s. You can see one surviving machine at the Smithsonian Institute or check the video below for a better feel of how the Rhythmicon actually sounded:

Leonard Charles: Reverse Engineered Donuts

Despite his death at the shockingly young age of 32 in 2006, James Dewitt Yancey aka J Dilla continues to exert his influence on beat makers, producers and musicians of all stripes. In fact, in recent years Dilla’s stature has only grown, thanks in part to the J Dilla Foundation…

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Finally Understanding Levels and Clipping

Over the years I’ve seen a lot of confusion out there about levels and clipping during mixing – but only recently I came to realise that the confusion was so deep that people were altering their mixes to avoid clipping that wasn’t even really happening! Once and for all, I thought I’d lay out for people in highly technical terms, but hopefully still keeping it fun too, everything they need to know about digital audio and clipping so that they can finally realise how little they really need to know. If your the type of person who has found themselves worriedly watching the meters more than your listening to the sound, this tutorial will put your mind at rest and your concentration back to the fun part: making music.



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Superbooth 16 - Berlin

The largest dedicated synth event has begun – Superbooth 16

You may have heard about gear retailer SchneiderBuero and his annual synth area from Frankfurt Musikmesse. Well this year everything will be different. Thought as an integrated type of event, the concept promises to become tradition for the retailer as well as for Berlin. Named SuperBooth 16 to mark the first edition of this exhibition, the event will start this week (March 31st) and last up to April 2nd.

So what’s so intriguing about SuperBooth 16? Featuring more than 100 synth manufacturers and music performances, the event positions itself as an independent and electronic music culture festival.  From Ableton to Analogue Systems, KOMA Elektronik, KORG, Make Noise, Modal Electronics and many others, the exhibition will also feature a wide variety of electronic music performances.

Where are you going to experience all this? The exhibition will take place at the historic Funkhaus, a former East German radio station. For the day to day schedule you should visit the official website https://www.superbooth.com/en/events.html or see the presentation movie here: 


We will surely be there!

Machines, Music and Experimentation, Sound, Research and DIY, Synthesizers, Modular Systems, Discussions, Concerts, Daily workshops for starters and advanced users:

Q&A with Alessio Mereu - Loops.Directory

Q&A with Alessio Mereu

We catched up with Sardinian music producer and label owner Alessio Mereu about some inspiration and music production techniques from the studio. With an unique sound and style his productions have been released on various labels such as Cocoon, Poker Flat, Jay Haze’s Tuning Spork and Contexterrior. He also is behind the concept of AMAM, a well respected imprint with productions from Losoul, Thomas Brinkmann, Ion Ludwig, Polder, Konrad Black, Basti Grub, Lauhaus, Doubtingthomas, Argenis Brito, Re-up and many more.

Tell me about your musical background. How did you wind up producing electronic music?

Since I was really young I’ve always listened to lots of music: Classical Music, Hip Hop, Rock/Punk (my first serious girlfriend brainwashed my mind with Clash, Velvet Underground, Lou Reed, Rolling Stones, Ramones and Sex Pistols. I have to thank her for that. Ciao Andrea!).

My friends and I were used to spend entire evenings inside our car listening to artists like Aphex Twin, The Prodigy, Chemical Brothers and others.

I studied Piano for 7 years; at the age of 15 I had an accident that has caused me a spinal injury. After that, I was not able to play the Piano anymore, so I had to search new ways to approach music in my different condition.. Thanks to a very passionate friend, i’ ve listened to albums that also have been my first contact with minimal techno like Sensual by Steve Bug, My way by Akufen, Alcachofa by Ricardo Villalobos, Tanto Quanto EP by Renato Figoli and many more.. About this last I mentioned, I came to know that Renato was living in my own city, thanks to a common friend, I met him and we became good friends and he teached me the basis of Logic Pro 7.

For someone who has never heard Alessio Mereu’s music before, can you explain what they can expect?

Since I have started making music I tasted different influences and different sounds. Within my discography (it is possible to find styles really different from one to another: At the beginning I released many “hypnotic “ techno EP’S, after years something more Tech House melodic like my EP “Parallel Universe” on Poker Flat but lately I’m more into Minimal groovy and mental music like my last EP “GG” .. every time is like if I restarted from zero, it is a kind of challenge for me to change sometimes and try new things.
Usually, I put inside my EP’s or albums my state of mind and my mood. it is possible to find within my work tracks which show emotions that I felt during the most “marking” and important moments of my life. This is a double-edge sword because people expect from me a kind of stuff that was normally released 9 or 5 years ago. But that’s the way I am 🙂

Also I like to listen to new and old releases, to buy vinyls although I can not play them (but I can listen to them) and, in general, anything that can be an inspirations for me.

What DAW you prefer?

Logix Pro X, sometimes with Ableton in rewire

What’s your opinion in using loops and samples

Honestly, I never used loops but I think there is nothing bad in using them..why? they can be good instruments and their usefulness is strictly related with how using them. In my opinion, making music means to create something original and personal; using a loop without any tweaks or adaptations doesn’t show a complete expression of the artist. Otherwise, extracting sounds, shaping and adapting them in the project you are working on is a nice way to find new inspirations and to “taste” new styles.

About single samples I used a lot in the past when I had no hardware machines with Native Instruments  Battery.. and I think that samples could be helpful also for people who use sampler machines likes MPC, Elektron Analog Rythm, Octatrack etc.

What piece of hardware you can’t live without? Why?

Everything I have 🙂 every instrument has its  own role.. lately I have fallen in love with Miami by AcidLab (808 clone) for grooves and Roland System 100 for bass.. also both Elektron Analog Rythm and Analog Four are really cool and fun to use.. about external effects I use a lot the Sherman Filterbank 2 and Eventide. And i use my Manley compressor everywhere.. maybe too much 🙂

Tell us a little secret about a technique you are using in your music?

No  secrets. Normally I record for 15 / 25 minutes with many variations/automations on each instrument then I cut the parts of each one  I like the most and  I start to edit and arrange on Logic.. fast and fun.

Can you give an advice for new producers and sound designers ?

When I started to make music I used to stay hours and hours doing it. I considered it a kind of revenge against the trick Fate had played to me. I wanted to show everyone that I had something to give, even from my wheelchair. I could communicate something and leave a trace on this world.
Maybe in 60 years time somebody will end up with one of my vinyls in his hands and say “what the hell is this?” It was a passion which helped me to let off all my anger. It was me who had to be the winner. I turned my anger into passion, constance and love for what I was doing so, getting back to the question, these last 3 I mentioned are (in my opinion) the 3 key factors for music.
Suggestion: listen to a lot of music, whatever genre it is.


Find more about Alessio Mereu and AMAM here:

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