Ten Walls goes on anti-gay rant

According to Gay Star News, the Lithuanian producer recently shared his views on homosexuality over Facebook, and apologised soon after. The original post has since been removed.

http://www.gaystarnews.com/article/walking-elephants-star-says-gays-ar..

EIGHT TIPS FOR SUCCESSFUL MUSICAL COLLABORATION

Jimmy Edgar and Machinedrum crafted a guide to collaborating with other artists based on their experience as the duo JETS.

BY JIMMY EDGAR AND MACHINEDRUM

In our latest artist-led guide, pedigreed dance floor duo JETS sheds insight on what makes for a successful collaboration between two independent musicians. As members of a production pair themselves, JETS’ constituents—Ultramajic label boss Jimmy Edgar and Ninja Tune affiliate Machinedrum—have proven qualified to offer some helpful tips about how to combine sonic visions for maximum effect.

1. Build trust.

Trust is one of the most important pillars of any successful collaboration. It’s really easy to get stuck in the same habits when working by yourself, so it’s important to trust your partner and allow them to make creative decisions that you might be uncomfortable with at first. Amazing moments happen when you allow the other person to do their thing. Trust doesn’t come easily; it builds over time. We’ve known each other for years. We met on a sweaty night in 2001 outside a club in Miami where two mutual friends were playing. Later that year, when we were 17 and 18 years old, we cemented our friendship and experienced our teenage wet dreams in Tokyo during our first trip abroad. That was the beginning of a long journey of building trust as friends, which eventually led to us feeling comfortable enough to begin working together. We think it’s important to be friends for a musical project, as we’ve both worked with people who weren’t necessarily friends with, and it generally never works out. First and foremost you should like each other, and that’s often overlooked, because when it comes to making money in business situations, friendship isn’t always a priority.

2. Communicate.

Collaboration is essentially a form of communication, and it severely affects the work when it breaks down. We always start and finish projects together and in person. When we go a while without working in the same space or even talking on the phone about our ideas, we tend to veer in drastically different directions, and usually the best thing to do is hop on a quick phone call to figure out exactly what needs to be done. A bunch of psychic stuff goes down when we’re in our creative zone. There are moments in the studio when we both have the same idea or notice something needs to be changed and just do it. Also, telepathy comes into play when you create an atmosphere of understanding and trust, so we both make it a point to say what we feel. We’re aligned by some magic, and most of the time when one of us wants to fix something, the other person is already working on it. JETS believes that the amount of focused and loving effort you put into an art piece is almost equal to the exponential growth the project will receive. It’s as if the musicians open themselves and people can peer in to see what kind of vibes they’re putting out.

3. Respect each other.

One thing that we talk about a lot is our mutual respect for each other as musicians and artists. We’re fans of each other’s music, and as a result we really push ourselves to do our best when working together. We’re both trying to impress the other when we work together. Mutual respect can help facilitate greatness in collaboration because you more or less don’t want to let the other person down. We often play each other new music from our solo projects, which always influences us. In reviews of our records, people are always wrong about who contributed what to a track, which is interesting because it made us realize we were sort of channeling each other when making music. In other words, we wouldn’t step into the studio and do our own thing—we often do the other person’s style! Not completely of course, but the point is that stepping into the studio with that kind of respect leads to something powerful.

4. Have fun.

Make everything fun, because there’s no point otherwise. We wouldn’t be in the studio if we weren’t having fun 24/7, and we wouldn’t spend so much time away touring if we didn’t always have fun. If you have to struggle to find the fun, you may need to go back to the drawing board. We’re always joking around, and sometimes we even take the music in humorous directions. A lot of time we end up keeping it, because if it makes us laugh and smile then we consider it a success. Sometimes the best tunes result when you don’t take yourself so seriously and inject some joy and laughs into it. We’re lucky that we can make each other laugh and keep things lighthearted, even when we have crazy deadlines and limited studio time. It’s good to take breaks and watch some silly videos on YouTube or anything related to Tim and Eric, whom we consider comedic gods. It reinvigorates us and creates a lightened mood in the studio, especially during tense times with strict deadlines.

5. Create a good environment.

Environment is important for sure, but be careful not to let it stifle the creative process. We will always strive to improve our environment, but we also always finish tracks in hotel rooms. We have no problem using aux inputs in a TV or even laptop speakers. However we’re much more productive in a studio environment, as we can change roles constantly so that things don’t get too monotonous or exhausting. For instance, we’ll go for about 30 minutes with one person on the computer using software, making edits and staring at a screen, while the other person plays keys, works on a modular patch or just listens intently. Then one person will chime in and we’ll switch roles. It keeps things fresh and we can have super long studio sessions as a result.

6. Adapt.

Collaboration calls for adaptability. Be fluid like the liquid that fills your project “container.” We always like to check each other and not let egos get involved, and we often take turns letting the other person do what they want while keeping our ideas linear to the vision. There have been periods when we’ve lived in the same city and years when we lived continents apart. We also both lead very busy lives in our solo careers, and as a result it’s important for us to adapt to changes and be willing to make time to see projects through.

7. Have a vision.

Have a vision, even if it’s basic. It can help you figure out what you wanna do, and it’s a lot more simple than it sounds. Most people do it anyway but it’s good to be conscious of it. Sometimes we like to describe music with other senses to get us in the mood. Alternately we imagine some kind of motion picture or video to go along. The idea is to establish a world and fully enter into it. Vision can come from inspiration, so we constantly expose each other to new music, art and film. Other times vision comes from more of a channeling process. We leave ourselves open to the collective consciousness, and that allows us to tap into universal ideas with our own take on it.

Develop a live concept.

We’re constantly thinking of different ways to present our music. Sometimes we come up with very involved live performances that show off our abilities to perform on instruments and re-create our songs live. Other times we think it’s more appropriate, powerful and fun to do a back-to-back DJ set because we get to play new songs for the audience and each other. When it comes to mixes we like to think outside the box. Instead of throwing together a quick mix of whatever tunes we’re currently digging, we like to get a bit deeper. Due to our vast amounts of released and unreleased material, we find that it can be very powerful to only include these songs. We have also enjoyed thinking about mixes in a mixtape or beat tape style. It may be some time before the world sees the completion of a JETS album, so that may be the closest you’ll get!

COPYRIGHT IS DEAD

STEVE ALBINI: THE MUSIC INDUSTRY IS A PARASITE… AND COPYRIGHT IS DEAD

 MAY 30, 2015

BY RHIAN JONES

Steve Albini is a renowned musician, record engineer, producer and songwriter. He’s also not shy of expressing a controversial opinion or two.

The 52-year-old has spent nearly 40 years making music, and developed a unique perspective on the business that surrounds that process.

With a long history in the DIY music scene as one third of Shellac, and a recording engineer for bands including Nirvana, Pixies, Mogwai, PJ Harvey, Manic Street Preachers, The Cribs and many, many more, Albini has made a living without tying himself to a major corporation.

He famously spurned the chance to take a royalty percentage of multi-platinum albums such as Nirvana’s In Utero, sacrificing riches by instead working for a flat fee – simply on a point of principle.

In 1993, Albini’s essay, The Problem With Music, explained his issues with major labels, attacking them for being helmed by “faceless industry lackeys” and holding bands “hostage” with opaque contracts and unfair royalty splits.

Then, during a keynote speech at Face the Music Conference in Melbourne last year, Albini updated his thesis, opining that the internet age has created “audience-driven music distribution” that’s “made it much easier to conduct the day-to-day business of being in a band”.

The Melbourne keynote has since been viewed over 57,000 times on YouTube.

On Friday (May 29), Albini further explained his viewpoint – and didn’t mince his industry-baiting words.

Addressing an audience at Primavera Pro in Barcelona (pictured), he let rip on topics including copyright, the ‘administration’ of the music business and the future of streaming services.

Here are five of the highlights:

‘THE MUSIC INDUSTRY IS A PARASITE’

“I don’t feel like I’m part of the music industry, the music industry meaning the corporatised business structures where you have people who are in the lower level, people in the upper level, people in administration, and people making legal relationships between all those people.

“All of that has always really bothered me.

“When I think about it, it makes me angry that it exists as a parasite on the music scene, which is the fans, bands, shows, and the people who help them.

“THIS ADMINISTRATIVE STRUCTURE THAT’S BEEN SYPHONING MONEY OUT OF THE [MUSIC] SCENE HAS ALWAYS SEEMED ARTIFICIAL AND UNNECESSARY.”

“That all feels very organic to me, fraternal and comfortable.

“This administrative business structure that’s syphoning money out of that whole scene has always seemed artificial and unnecessary and I’ve spent my life trying to remove its influence.”

‘HYPE AND PROMOTION NO LONGER WORKS’

“When bands were signed to record labels before [the internet age], the contacts were unfair and the record label controlled the exposure.

“Now there is so much music it’s hard to be noticed. But that means there’s so much music available because it’s so easy for music to become available.

“So the barriers have been removed for exposure, and the relationships that bands build with their audience is going to be based on the music finding a sympathetic audience.

“IF YOUR MUSIC IS NOT SPECIAL, IT’S NO LONGER POSSIBLE FOR HYPE TO DO ALL OF THE WORK.”

“If your music is not special, it’s no longer possible for hype and promotion to do all of the work. There are always going be a few mainstream pop stars, but that is no longer the main focus of music scene.

“The main focus is going to be people finding music on their own and discovering stuff that they like specifically for themselves.”

‘HIGH QUALITY STREAMING MISSES THE POINT, BUT STREAMING SERVICES ARE JUST A TEMPORARY SOLUTION’

“Streaming platforms don’t have very good sound quality for music but that’s not why you listen to music on a streaming platform, you listen to music on a streaming platform because it’s convenient.

“In the 1960s there were transistor radios and the sound quality was terrible, but you could bring it with you to the swimming pool, you could listen to the radio while cooking.

“YOU LISTEN ON A STREAMING PLATFORM BECAUSE IT’S CONVENIENT.”

“Hi-fi has magnificent quality but that’s not the only way to listen to music and I think that’s a perfectly reasonable situation.

“But eventually we’ll have something even easier where you don’t have to subscribe, you don’t have to give any data, you can just play music on your phone or computer.

“I think that the natural progression of technology implies there will be something easier and that will default in the convenience. But I think sitting in the living room and playing records is always going to be there [too].”

‘CONTRACTS ARE A COMPLETE FALLACY’

“The idea that you have to have contracts to do [business] agreements, that you have to have formal understanding between people in order to have a long relationship, is a complete fallacy.

“If you enjoy working with someone and both feel the relationship is working out, you naturally carry on indefinitely.

“THE WAY I’VE APPROACHED ALL OF MY BUSINESS IS THAT YOU DON’T NEED CONTRACTS.”

“That’s the way I’ve approached essentially all of my business, you don’t need contracts.

“I think it’s the best, safest and also the most reasonable way to conduct, not just an informal things, but even very important things like millions of dollars worth of business between my band and a record company.”

‘COPYRIGHT IS NOT A REALISTIC WAY TO TREAT IDEAS’

“The constructs of copyright and intellectual property ownership is not a realistic way to treat ideas. Ideas once expressed become part of the common mentality, music once expressed becomes part of the common environment.

“I think the idea of intellectual property will naturally have to be modified to accommodate the way people exchange ideas and music and information.

“THE OLD COPYRIGHT MODEL HAS EXPIRED. IT CAN NO LONGER EXCLUSIVELY CONTROL MUSIC.”

“The old copyright model – the person who creates something owns it and anyone else that wants to use it or see it has to pay them – has expired in the same way that around the world you’re seeing structures and social norms [lapse] that were standard for many years.

“It’s going to take a lot for the business to catch up to where the audience is, in the same way it takes a while for the church and the laws to catch up to where the people are.

“But there is no longer the possibility to exclusively control music through copyright.

“I think the term ‘piracy’ is absurd. Piracy is people boarding a ship with violence and killing people and physically stealing material goods….

“Equating somebody downloading something on his iPhone with that is preposterous.”

Robert Babicz Talks Mastering.

MAY 28, 02:31 PM

The producer and mastering engineer explains his process.

What does mastering mean for you?

I would say, mastering for me is like being a makeup artist, where a nice woman is coming to you and you make the most beautiful princess in the universe out of her. It’s a philosophy of how you work on a track and how you colour it with your own view.“It seems like it’s been confused with ‘loudness’. Do you agree? If you just want to be loud, no need for a mastering. Just put a limiter on the end and push it to the limit. I would say that real mastering is more, way more.”

Is there an argument that some mastering plug-ins have created confusion in what mastering is for?

“Yes, sure. Recently I had a customer that was so into a preset on one of the plug-ins, that it was his only reference. And only when he was able to listen to my speakers and room he heard how much his music been fucked by this thing. But in the end, it does not count, because if you love the fucked up sound, then it’s the right way. I personally love sound too much to be trusting a preset.”

What’s the most important thing for you, when mastering a track?

“To listen to the track. I mean really listen and understand what the track wants from you. Then you know where to go and what limits are better not pushed to far. “

How separate do you think mastering and mixing need to be to be really affective?

“For me personally, the mixing process is much more important then the mastering stage because that’s the point where all important decisions are made. In mastering you are mostly able to repair and make the nice things nicer.”

Do you master your own work or would you prefer a fresh set of ears and perspective?

“On my own music, I totally know what I’m doing, and the mastering is almost done in a few minutes because I really take care during the mix. There is really not much to do when I master my own music.”

What tips would you give someone who didn’t have the budget to have their track mastered professionally, and wanted to give it a go at home?

“The most important thing in mastering, or even doing music in general, is having a place were you are REALLY able to hear what is going on in your music, because then you hear what is wrong or right. So that means that the tiny laptop speakers are not the ones you want, and the room were you do music is also very important. If you hear the big sounding bass waves in your room and there is a tiny kick in the track, then you should know something is not right.”

How important is knowing your room and your speakers?

“This is your main equipment, I would say. It took a little while for me to understand this for myself when I started. You need to hear what you do. It’s the same as driving a car and having just a tiny hole as a window, you want to see where you’re going!”

How do you approach loudness? I don’t like the term ‘loudness war’, but if you were to give some advice on achieving loudness while maintaining a dynamic RMS level, what would it be?

“I think that it is almost like you are playing a game – you have to really try to find the balance between how far you can push the sound you have and how much you can let the music get distorted. So, you have some parameters to play with.

“On the other side, you look what happens to the music when it will be played loud – does something hurt you? Then you need to put down this frequency part a bit… You really do not want to cause anyone any pain, do you?”

What’s the best level to listen at when mastering? Does cranking up the sound reveal more or should you master at a more realistic listening level?

“I listen in three volumes usually – normal, loud and then very low. Usually, the very lowest volume is showing me where the loudest part in the music is.

• SOURCE: musicradar.com

AIFF VS MP3 VS WAV

Steve Bug prefers AIFF over MP3 & WAV. Here's why.

MAY 29, 03:00 PM

Germany’s very own taste-maker, trend-setter, mover-shaker-extraordinaire Steve Bug is a multi-faceted artist who refuses to back down from the limelight. A dedicated, energetic and constantly surprising talent, Steve is nothing less than an electronic music ambassador, a much-loved spokesman to the people, and for good reason. You’ll find Steve’s music on his label Poker Flat and respected imprints such as Freerange, Cocoon, Get Physical, Push Communications, Dessous and Moodmusic.

Being a prestigious producer and well travelled DJ, Steve is fully aware of the advantages and disadvantages regarding certain audio file formats. Here he explains the differences and why he runs with AIFF.

---

“Sound-wise for me MP3s are out of the question. The problemWAVs have is that you can’t tag them, so you always have to type in the info and add a cover photo after downloading again. That’s why AIFF is my format of choice. I’m glad that Traxsource is now also offering AIFF. It will save customers a lot of time.”

Truth be told

Pioneer DJ's New RM Series

Everything You Ought To Know About Pioneer DJ's New RM Series.
http://po.st/RMSeries

Pioneer DJ introduces a new series of studio monitors

Pioneer DJ’s RM-05 and RM-07 speakers are packed with pro-audio technology to deliver a high SPL and a neutral sound with clear separation across the frequencies.

NEWS.TRAXSOURCE.COM

Ableton racks

Some nice ableton racks for ableton users and they are free!

Certified Trainer Paul Laski provides a vintage-themed
‪#‎FreeStuffFriday‬ for your weekend pleasure. Using Operator and Sampler, Paul has re-created several classic 1980s synth presets and arranged them into production-ready Racks. Enjoy!

Roland Juno-esque Operator Brass/Pad: http://ow.ly/MkPLt

Korg M1 'Organ2' for Sampler: http://ow.ly/MkPHQ

Yamaha DX100-inspired Operator Bass: http://ow.ly/MkPR3

The Weeknd "Earned It (Lars Behrenroth Dark Edit)"

Did you get your Free Download? The Weeknd "Earned It (Lars Behrenroth Dark Edit)"

http://www.deepershades.net/…/free-download-the-weeknd-earn…

very nice article right here,10 things not to do when you're making music

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10 things not to do when you're making music

Make sure you're using your time efficiently

MusicRadar is always advising you on the things that you should be doing when you're making music, but what about the things that you shouldn't?

We've put together a list of the most common bad habits – if you've fallen into one, it's time to get out of it…

1. Work with the TV/radio on

It might be tempting to have MTV running in the background, keeping you company on long sessions, but turn it off now. As anyone who has walked into a pub with a silent TV playing knows, moving images are an annoying distraction.

If you need a rest from your work, then actually take one. Leave the room, get some fresh air, do something different. Return to your work refreshed, focused and free from distractions.

2. Constantly rework a track

If your new track isn't working after a couple of attempts, then abandon it, at least temporarily. Either it was never that good in the first place or you've lost your artistic perspective. That might never return, so stop wasting your time and work on something new.

Alternatively, you could do some serious soul-searching. What exactly is it that you're trying to achieve with your music? Why haven't you achieved it? What steps can you take to ensure that this spiral of re-working never occurs again?

3. Throw in the kitchen sink

We've lost count of the number of tracks that have been spoilt by a programmer throwing in too many sounds, filling every sonic hole in the arrangement. It often happens when they've lost perspective on what the track requires.

Less is more. If your song doesn't sound good stripped back to a simple vocal and supporting harmony part (such as a pad or guitar), it's probably not a good song. Stop programming through your tracks and try and be a musician instead.

4. Doodle aimlessly

It's not very satisfying stringing beats together with no purpose other than to kill time. Eventually, you'll start to associate your musical activity with a nagging sense of underachievement. You need to be inspired and inspiring whenever you work on a new track, so only fire up your DAW when you have work to do. Kill time with games, not music – it's too important.

5. Think you can produce anything

The best piece of advice for producers we've ever heard was from William Orbit, who said that to be a great producer you should only work with artists whose work you love. You can't produce a band or song you don't like. How would you know when the record is finished, when you completely hate it? Be choosey with your time. Only work on music you love.

6. Work when tired

Sometimes it's unavoidable, especially if you're on tight deadlines. But great work is 5% inspiration, 95% perspiration. If you must work at midnight, make sure that you're doing the laborious, simple tasks that require little creative thought. If you're attempting to write a new song when all your energy is coming from coffee rather than inspiration, you've gone wrong somewhere. Go to bed.

7. Copy someone else

You can waste a lot of time copying someone else's work, then trying to hide your workings so as not to get caught. If you're sampling someone else's record, then cutting it up 'to be on the safe side' you're wasting vast amounts of time. Couldn't you have achieved the same result more quickly by actually making the sample yourself?

8. Work with an idiot

Having tiresome bores around when you need to get on with your work is annoying. If you must work with a singer who you can't stand, it might be good to arrange your working schedule so that they can't sit with you throughout your mixing session. You'll need to involve them again later, but don't let them distract you constantly.

9. Buy a new synth/plug-in to rescue your creativity

Creativity, like boredom, is a state of mind. No one ever successfully recovers from writer's block or the 'bored programmer syndrome' by purchasing a new piece of kit. So, rather than buying more stuff to excite you, how about deleting a whole load of plug-ins and working with just three?

10. Settle for second best

The music world is ridiculously competitive, so if you're being lazy with your work, how can you expect to be taken seriously? Work hard, work effectively and retain a sense of perspective. There are no easy rides left in the music game – every note you play and every lyric you write should hurt a little!

Cold Mission - Drug Store Rude Bwoy (Nu Era Remix)

Cold Mission - Drug Store Rude Bwoy (Nu Era Remix)
https://www.youtube.com/watch?v=pXXb-ANZaTg

Back 2 Earth - Banned Frequency

Back 2 Earth - Banned Frequency

https://www.youtube.com/watch…

The 10 greatest synthesizers of all time,which one is your fav?

The success of Sequential Circuits' Prophet-5 shook the synth industry. Monosynths were declared dead almost overnight, and if your synth couldn't store sounds, you might as well have scrapped it for parts.

Every manufacturer that could afford to do so began pumping out competitive products. Some attempted to bring the cost of programmable polyphonic synthesizers down, while others, like Oberheim, attempted to put their own stamp on 'em.

Oberheim had, in reality, been there before Sequential. It offered polyphony in the form of its OB Four and Eight Voice instruments, achieved by strapping a handful of its S.E.M. modules into a case, attaching a keyboard and expecting the user to identically tweak each individual S.E.M. There was even a rudimentary programmer available that could store some (but not all) of the parameters for later recall. They sounded immense, but they were difficult to manage, to say the least.

The OB-Xa may be the single phattest sounding instrument we have ever heard.

Oberheim had a bit of a re-think after the Prophet-5 whizzed by, and took the best of its previous designs and combined them into the huge OB-X. It worked a treat and begat a number of follow-ups, each with its own specific qualities and refinements, and each with its own loyal following.

We could have picked the OB-X or OB-8 for our list, but we chose the one smack dab in the middle, the OB-Xa.

Like the OB-X that preceded it, the OB-Xa was available in four-, six- or eight-voice versions and sported a somewhat simplified dual oscillator signal path. The OB-Xa, however, added a 24 dB filter to the OB-X's 12 dB job and, in fact, you could create layered sounds that combined both for a more complex and engaging sound.

And what a sound it was. The OB-Xa may be the single phattest sounding instrument we have ever heard. Users who dare to click that Unison button may have to have their teeth re-enamelled. Yeah. It's big.

As with all Oberheim instruments of the time, the OB-Xa could be lashed together with a DMX or DX drum machine and a DSX sequencer to form a complete Oberheim 'System'. Such a System in full swing was a sight to behold in those pre-MIDI days, a technological wet dream that was far out of reach of all but the most successful musicians of the day.

read more:http://www.musicradar.com/news/tech/the-10-greatest-synthesizers-of-all-time-224433

Teleskop - WMAP (Original Mix)

Teleskop - WMAP (Original Mix)

https://soundcloud.com/thelegend…/teleskop-wmap-original-mix

Kerri Chandler launches new label Kaoz Theory with compilation

Kerri Chandler will launch a new label in June, Kaoz Theory, with a 16-track compilation called Kerri Chandler presents Kaoz Theory. 

Kaoz has been a name associated with the US veteran for many years—Kaoz 6:23 was one of his earliest DJ nicknames. His latest offering will hit the shops on June 22nd, presenting 16 tracks in an unmixed format. All the music on there is new and was made especially for the release, with contributions from Chandler and fellow DC-10 regulars Seth Troxler, The Martinez Brothers, Davide Squillace, Matthias Tanzmann, Cirillo, Chez Damier and DJ W!ld. Detroit Swindle, Rick Wade and Fuse London's Seb Zito have also made the cut. 

Tracklist 
01.Seth Troxler - Tubby
02. Davide Squillace - Room By the Pool
03. Matthias Tanzmann - Boxing Day
04. Kerri Chandler - Turn Off The Lights (Who’s Afraid Of The Dark) 
05. Voyeur - A Problem For The Whole Solution
06. Stephane Ghenacia - MamaJunk
07. Detroit Swindle - Ballin
08. Seb Zito - Bedlam Holla
09. The Martinez Brothers - Mr Gone
10. Cirillo - Pugnet (Trittico Mix) 
11. Chez Damier feat. Heart 2 Heart - Detroit 3000
12. massprod - Here To Stay
13. Lola Purple - Keep It Rollin' 
14. Rick Wade - You Need Love
15. DJ W!ld - Lets Do this
16. Jerome Sydenham & Aschka -Station X (Dub Stop Mix) 

Kaoz Theory will release Kerri Chandler presents Kaoz Theory on June 22nd, 2