It’s all about the retro 909 grooves in our latest step-by-step drum programming walkthrough, which focuses on classic 90s New York and New Jersey house vibes.
Beat Dissected is a regular series which deconstructs drum patterns, showing you how to program them in any DAW. Just copy the grids in your own software to recreate the loop.
Read this and listen to the audio examples here http://www.attackmagazine.com/technique/beat-dissected/90s-jersey-garage-house/
MARRS ‘Pump Up The Volume’ The truth behind the producers, the copyright battles and the releases.
http://www.soundonsound.com/sos/aug12/articles/classic-tracks-0812.htm
A nice blog post by Serato themselves on how their timecode Vinyl is made.
http://serato.com/latest/blog/15405/photos-serato-control-vinyl-factory
All it took to make a star of Carly Rae Jepsen was one memorable song — and, in Dave Ogilvie, a mix engineer who understood how to make it stand out.
Dave ‘Rave’ Ogilvie at The Warehouse in Vancouver.
Producer Josh Ramsay called mixer David ‘Rave’ Ogilvie in March 2011, excited about a new song he’d written and recorded with the relatively unknown Canadian singer Carly Rae Jepsen. Ogilvie recalls, “I enjoy everything Josh works on and like mixing his stuff, so I was eager to hear what he’d done. I went over to his studio, The Umbrella Factory, and when he played me the song I thought it had one of the biggest hooks I’d heard in years. I couldn’t wait to mix it, and did so a couple of months later. I knew that the Canadian radio would love the song, and when it took off in Canada I felt vindicated in my initial opinion. But I had no inkling at all of its worldwide potential.” Read the rest of the interview here: http://www.soundonsound.com/sos/sep12/articles/it-0912.htm
Excited to see that George and Stephen have launched Sharp digital and will re-releasing and remastering old tracks of theirs like the iconic Sara Parker – My love is deep. Good luck guys 
The brilliant Riva Starr live in December 2012
PIONEER CDJ-2000 NEXUS
New Quantize functions keep everything in perfect time, whilst dedicated controls for Master and Sync also ensure there are no nasty beat clashes. Mixing in key is also now better than ever with the Nexus – thanks to a traffic light system that allows DJ’s to see which will combine well.
Add the ability to load music via USB, CD or now even Wi-Fi as well as an informative, pinsharp display, and the CDJ-2000 Nexus promises a revolution in DJing.
The CDJ-2000 Nexus is available from late September 2012, at an SRP of £1,599.
Check out this fantastic video of Laidback Luke in the mix:
The key to successful mixing is contrast. To hear loud things, you need to have heard quiet things and the relationships between far and near, dull and bright are also crucial, as is that between left and right. To continue reading, click here: http://www.musicradar.com/tuition/tech/learning-how-to-use-tricks-in-the-stereo-field-569426
There’s more to Live’s Auto Filter audio effect than simply applying an analogue-style filter to your virtual instruments and audio clips. It offers extensive modulation (hence the ‘Auto’ in the name), and you can create arrays of several Auto Filters in series, parallel or a combination of the two to give you moving-filter processes you won’t find in any synth or sampler. In this month’s column I’ll be showing you just what you can get out of Auto Filter if you know how. Let’s start with the basics…
http://www.soundonsound.com/sos/feb12/articles/live-tech-0212.htm
These days, people who are in the music industry are expected to wear many hats. DJs are also expected to be putting out records, and producers are expected to perform live and/or DJ to promote their work. The situation gets even more intense when people are releasing their own music, with the demands of getting the tracks to the stores just as important as promoting the tracks and getting them to the right DJs — so they will gain attention, rather than being lost in the background.
As technology has advanced, the premises of getting your music out to the masses has become easier, but as much fun as it is to be able to do away with dealing with record labels, the unexpected side-effects of being expected to take care of everything in-house can be harder for many to handle.
Anything that takes artists away from creating music is a bad thing, so therefore anything that makes life easier and doesn’t cost a bomb is a very good idea indeed. One such godsend is the new service from Promo Push — a new music promotion platform that promises to make the life of DJs, artists, producers, managers and PR companies much easier by taking care of their music promotion, and not entrusting it to a promo company that doesn’t care for your tune or label but will offer you the service anyway just to make money!
You can carry on reading here: http://www.djmag.co.uk/node/35894
