Akai synth stations are designed to transform your finest iPhones and iPods into class studio. This is one of the best alternatives available for music fans. While looking at the product list it is certain that you get to make your selection from amongst some of the best collections of synthesizers. These are the top gadgets for creating chords and melodies. The synthesizers are manufactured by Akai company that is a well well-known name in the world of electronics.
The instant you purchase synth station then it is certain that you get to make the selection from amongst dissimilar features. The moment you look at the external features you can make sure that the gadget is fully loaded with wide variety of tools and functions. These are best made use of by most musicians to create their best collections of music. The best part is that you get to connect this gadget to your iPad thus you can make use of the touch screen feature for effortless navigation through numerous categories.
You can make use of this synth station to get started with creating your best song and sequences. Apart from this you can also try and edit any collection or even keep it on your system. While making use of Akai synth station it is certain that you can make use of drum kits, oscillator synth and mix options. Apart from this the gadget also provides you with many other features like arpeggiator that offers with its best predetermined options, filters, built in effects and control tools. These are the features that consent to you to take entire control of each function and parameters.
The moment you get started with playing the keys of the Akai synth station it is certain that you can feel the magic of music. You surely have full access to each of the control that you need to make your presentation more effectual. Apart from this you can as well make use of synth controls, envelopes and much more. People can also take full control of dissimilar types of filters that can prove advantageous in creating your best signature sound.
The equipment is also equipped with excellent drum kit that are effective in creating genuine superior beat and tone. Hence to get started you simply have to try and make the selection of the type of drum you would like to play. This choice also facilitates users to edit or save any new creation on the hard drive. Professional can also try and modify the music they have created with much ease. In case you are working on any project then Akai synth station also allows you to save any sequence that you have created. The synthesizer also permits you to remind all of your creation when needed.
Everybody loves Top 10 Lists, from David Letterman's countdowns, to the Huffington Post's top 10 this and that. It’s a fun way to maintain the illusion that in a complex world, things can be simpified, or dumbed-down.
So...Let's play along. Why not a Top Ten List on the subject of Making A Living From Your Music?
The following list highlights 10 habits you should develop if you want to make a consistent living from your music. I can honestly say that these habits are the habits of successful musicians I have known and admired:
1) Find ways to get ordinary people who love music, to love your music. We live in a time when everybody and their sister can and does make their own music. That doesn't mean, however, that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music.
Try your music out on "music fans" in the same way you would solicit opinions from A&R Rep. Talent scouts in the music industry are always following tips they hear from their street connections. But remember, your music must truly stand out in some significant, original, dynamic, and creative way. 95% of the independently produced CDs out there contain regurgitated ideas that were ripped off from some other more gifted musicians.
So prove to the industry that ordinary music fans in your city love your music.
You can do this by giving away samples of your music and putting some of your songs on the many internet websites that allow people to download or sample new music. If people love something they let other people know about it. So, you can find out quickly if your music has what it takes to please the public by giving away your music, for a while, until there is a real demand for it. Then continue to give away your music, but in a more controlled or limited way.(Perhaps give away a song or two for a limited time on you website, or through MySpace and/or Facebook.) You will sense when the time has come to control this habit and charge a reasonable fee for access to your music.
2) Play live often and don’t worry ( at first) about getting paid for every gig. You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music. The dedicated musician can’t not play music every chance they get. Money-focused musicians whine about the fact that they can't get club gigs that pay anything. If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it... almost every legendary, gifted musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never gave up. Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non-profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions. Look around your city or town, and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
3) Know your instrument inside-out. One of the curious developments of the late 1970’s was the huge increase in garage bands, punk bands, rappers, and "do-it-your-self-ers", who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshiped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection. A need to be not just "good enough", but GREAT. Why settle for less? Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite musicians record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will fall into some new territory, wherein you will find yourself, your "sound", and increase your chance to stand out from all the mediocrity that is your competition.
Believe it or not, record labels love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo, and from every new act they go see at a live venue. You see, in the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our "label brand" on you, with our talents of promotion and marketing coming to the front, then we "have something", and your music becomes our music, and we work together to broaden you audience appeal. It’s kinda like a partnership... something about "Art and Commerce"... they can work together you know?!
4) Protect your investment... register your songs for proper copyright protection. I never cease to be amazed how few artists are willing to spend $40 to register their songs with the Copyright office. By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter. If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. From the Internet to the library, there's an easy way to learn what it takes to file for copyright protection.
5) Design and write your promotional materials so they stand out. The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, quote sheets, website and blog pages etc. is a lengthy one to say the least. As far as some tips that can help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible. Take the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearance highlights; and organize them into professional written documents that you have saved for you website, MySpace and/or Facebook accounts. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No "generic" kits should ever be created. let alone sent to any gatekeepers in the music business.
6) Know the labels and music publishers you hope to be signed to. If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and the executives background and experience? The same is true when you are approached by any reliable music industry company. Some musicians get so excited when a certain label approaches them with a recording contract offer, or a publishing company offers to sign them. Being approached for a deal is a compliment and recognition by a label or publisher that a musician’s music is attractive to them. But, to rush ahead without taking the time to learn a few things about them is foolish indeed. Ask... how have they done with your particular genre of music? What specific "points" are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people? These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.
7) Have your own ‘Entertainment Law Attorney’ to represent you. The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies involved. It should be pointed out here that when all is said in done with the "courting" process, the musician is never present during the actual negotiations. The musicians attorney and the music company’s attorney meet, talk over the phone, and fax/email or snail mail their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.
8) Choose a well-connected and respected personal manager. Great artist managers are becoming a thing of the past. Self-management is always a valid option in the developing stages of establishing your career as a musician. Much can be learned by taking on the jobs of securing gigs, getting some publicity, planning tours, dealing with personal issues that arise within the band, and schmoozing with A&R Reps and various other label and publishing personnel. However, there comes a time, usually when the daily tasks of doing the business of being a band takes up too much time, and it is at this time that the services of a good manager can be very useful. I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to "attract" the services of a professional, well-connected and respected manager.
Managers who do this job for a living can only take on clients that generate income. Making money as a personal manager is no easy task, and many upcoming artists forget that if any monenies are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student manager-wannabees, this can help pave the road for professional management.
Over the years I have heard several horror stories about "managers" that approach upcoming acts and say that for X amount of dollars, they can do such and such for the artist. No... this is not the way legit personal managers work. Well-connected and respected personal managers get paid a negotiated fee for their services (get it in writing) for any and all business transactions they are responsible for (15%-25%) over a particular contract period. No musicians should ever pay a fee to a so-called "manager" who will not do any work UNLESS they are paid up front. Flim-Flam men and women still abound in this business... be forewarned.
One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers. The music business is a "relationship" business. Who know who, and who can get to know who, and who did what successfully for who... is what this management game is all about. Choose carefully those people who will be representing you in any business dealings.
9) Don’t take advice from anyone unless you know that they know what they are talking about. At the beginning of this article I stated that these 10 tips were just my comments from years of dealing with the business itself and many musicians. Everybody has their own list of Do's and Don'ts and the only real value they have is that they present you with "opinions" about what to do to get established as a musician.
To be quite candid, the best rules in the music business comes from the experience of building your own career; learning from your own interactions with the gatekeepers at labels, the media, management, and booking companies as to what is right or wrong for you. For every Do or Don’t there is an exception to a so-called "rule". As I reflect on the advice I sought out and listened-to over the years, the most valid tips came from people who walked the walk, and talked the talk. If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only feedback that might stand up over time. Choose carefully.
10) Musician...Educate Thyself! If you want a record deal, learn what a record deal is, and learn something about the business of music. Naive or mis-informed musicians are a menace to themselves. Enough already!
Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today any musicians who sign a record contract (and learns later what he or she signed) have only themselves to blame. Even 20 years ago, it wasn’t that easy to gain access to the inner workings of the music business. (There are more letters in the word business than in the word music.)
Today there are dozens of outstanding books available on every conceivable topic related to the business of music. They can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer 2- 4 year programs on the business of music. Seminars, and workshops are available on a year round basis in most major American cities. Consultants, Attorneys, and Business Organizations are all around and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.
I cannot stress how important I feel this issue is. I am here to tell you, one and all, that you have been told many things about music that you did believe. "Spend money on quality instruments and equipment"... you have done that. "Spend time and money on practicing and rehearsing", you have done that, for the most part."Spend time and money finding the best recording studio, producer and engineer you can"... you have done that. "Spend time and money learning all you can about the business of music"... well, no one told you to do that did they?!
It has been said about education that we don’t know anything until someone tells us. If that is true, the fault in "not telling" musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed. (Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about the music business, a few hours now, can protect your future forever!
There are no rules or restrictions on who can and cannot learn music. The Music Industry throughout the world is blessed with a plethora of talented singers, music composers, instrumentalists and other successful music artists and several more are entering this field everyday! There are those who want to make a career in music while there are those who simply want to learn to play a musical instrument to make themselves happy and enjoy music.
So it can be said that music is such an art that can be acquired and learnt by anyone who has the interest and inclination to do so!
Children: By starting early, children can learn the art of playing a Musical Instrument at a young age and improve in doing so over time. It has been seen that by learning music, children are able to develop and grow effectively. Parents should encourage their children to pursue their interest in music along with their education as it is
a great hobby to have
keeps the child involved and occupied, and
may open up many avenues in the future.
Teenagers: Those in their teens are naturally inclined to music and if interested in making their own music, these growing individuals can begin learning music (vocal & Instrumental) depending on where their interest lies.
Playing music is a great hobby.
Being formally trained assists in getting prepared for a career in music in the future.
Adults: In between all your work pressures, busy schedules and stressful lives, you will find learning to play a musical instrument a great stress buster and mood enhancer.
Senior Citizens: It is never too late to learn! Besides keeping you busy and constructively occupied, learning music can help you to fight memory loss, interact with other like minded individuals and can even lower your blood pressure.
As can be seen above, music is for everyone and if you have the interest, you must start learning music today!
Music participation provides a unique opportunity for literacy preparation. Whether the children are singing, playing, or listening, teachers direct them to listen and hear in new ways which exercises their aural discrimination. Playing instruments and adding movement to the lessons teaches children about sequential learning which is essential in reading comprehension.
Music and Young Minds
Plato once said that music “is a more potent instrument than any other for education”. You will find many teachers of young children who would agree with him. Recent research has found that music uses both sides of the brain, a fact that makes it valuable in all areas of development. Music affects the growth of a child’s brain academically, emotionally, physically and spiritually.
Music is academic. For some people, this is the primary reason for providing music lessons to their children. A recent study from the University of California found that music trains the brain for higher forms of thinking. Second graders who were given music lessons scored 27% higher on proportional math and fractions tests than children who received no special instruction. Research indicates that musical training permanently wires a young mind for enhanced performance.
Music is physical. Music can be described as a sport. Learning to sing and keep rhythm develops coordination. The air and wind power necessary to blow a flute, trumpet or saxophone promotes a healthy body.
Music is emotional. Music is an art form. We are emotional beings and every child requires an artistic outlet. Music may be your child’s vehicle of expression.
Music is for life. Most people can’t play soccer, or football at 70 or 80 years of age but they can sing. And they can play piano or some other instrument. Music is a gift you can give your child that will last their entire lives.
Music programs are not extras!
Instrumental and vocal music classes are often referred to as "extracurricular" classes. Music is anything but "extracurricular". Music classes offer many benefits which make them very indispensable. Performance programs enhance a student's sense of self esteem as well as their social skills. Students become a part of a positive group and organization. Not only do students profit socially from music programs, but they also gain academically.
Several studies have confirmed that music directly enhances learning through increased spatial development. Math and reading are improved by learning rhythms and decoding notes and symbols. So there appears to be cross disciplinary learning in music.
Music makes the grade!
For years elementary teachers have decried the music pullout program (students are taken out of class to receive music instruction once or twice a week) because of "lost instruction" time. But according to many studies these fears are unfounded.
Researchers in Hamilton, Ohio, documented that students participating in a string pullout program scored higher on the reading, mathematics and citizenship portions of the Ohio Proficiency Test (OPT), than their non-music peers.
This study paired string and non-music students based on their verbal Cognitive Abilities Test (COGAT). Four groups of string students were released two times a week for instruction. Two of those four groups scored significantly higher on the reading and mathematics portion of the OPT than their non-music peers. Additionally, 68% of string students scored at grade level or higher on all four sections of the test compared to 58% of the non-music students. For more information (Michael D. Wallick, Ohio City Schools)
In high school, the results are also convincing. Every year juniors and seniors take the Stanford Achievement Test (SAT) for college admissions . These scores reflect several years of education and are intended to judge a persons over-all education.
Source: The College Board, Profile of College- Bound Seniors National Report for 2001.
SAT scores of students who took part in music instruction surpassed students with no music training. Data collected from students taking the SAT, indicated that students taking music and arts averaged scores that were higher than non music students by 60 points on the verbal section and 43 points on the math section.
Additionally, data revealed that for every year a student participated in music instruction, their SAT scores improved. Students with four or more years of music study recieved an average score of about 544 as opposed to a score just above 482 for those with half a at least one semester of music instruction, thus showing a strong correlation between music and academic success. (For more information see MENC Web Page)
Source: The College Board, Profile of College- Bound Seniors National Report for 2001.
Whether the results are a reflection of a direct cognitive connection or other factors, such as higher self-esteem, and involvement in school, the outcome is no less important. Music does influence and impact student learning and success.
Music for everyone
The fact is, music is an important avenue to individual success. Music should be made available to all students in all schools. Music programs hold an influential place in school and academic structure. When consideration is being given to program and budget cuts administrators, parents, counselors and teachers need to know that music education is not just an "extra" elective to fill students' schedules, but a vital part of a complete"academic" education.
Hip-hop, once called rap music because of the talking or rapping that’s such an integral part of the music, has gone from local to global in less than 30 years. It’s no exaggeration to say it’s the most popular music on the planet, known virtually everywhere.
How It Began
New York in the mid 1970s was the centre of the disco movement. But up in the Bronx, other things were happening. There were parties in the parks, where the music was provided by a DJ with two turntables. Kool Herc, a Jamaican immigrant, is credited with being the first to become creative with the turntables, using two copies of the same record to create “breaks,” where a section on one disc was followed by the same section on another, and also the “scratching” that typified early hip-hop. He was supposedly also the first to rap over the top of the music, inspired by the Jamaican spoken style known as “toasting.”
This radical reinvention of music spread across New York, moving downtown into the clubs, and new DJs appeared, people like Afrika Bambaata and Grandmaster Flash, who would be important in the early history of the music. However, the first rap record didn’t appear until 1979. Even then “Rapper’s Delight” by the Sugarhill Gang was backed by studio musicians, not turntables.
It didn’t remain an underground music for long as artists like Kurtis Blow followed with “The Breaks,” and even New Wavers Blondie jumped on the bandwagon with “Rapture.” But the possibilities of the music began to be explored with Bambaata’s “Planet Rock,” and a year later he introduced sampling with “Looking For The Perfect Beat.”
Hip-hop had rapidly broken out of the ghetto, creating stars like RUN-DMC, Grandmaster Flash and several others. But it really broke through to the mainstream when RUN-DMC teamed up with rockers Aerosmith for a reinterpretation of the latter’s big hit, “Walk This Way,” that rocked the charts.
As The Music Develops
In its early days, hip-hop had seemed an exclusively African-American phenomenon. But that changed, and the Beastie Boys provided a raw white aspect, emphasising the part aspect of the music. Salt-N-Pepa showed the girls could rap as well as the boys, and by the latter half of the 1980s, rap had a political face, thanks to groups like Public Enemy and Boogie Down Productions.
At the same time, on the West Coast, there was the rise of the genre called “gangsta rap,’ mostly notably from the group NWA. They celebrated life in the ghetto gangs, and the money and violence that came with it. Many were disgusted, but others loved it, and it quickly proved to be one of the most commercially successful hip-hop styles, finding particular popularity with white suburban teenage boys.
It gave rise to a number of stars, the biggest being Snoop Doggy Dogg and the producer Dr. Dre.
East Coast Vs. West Coast
The 1990s brought a rivalry between East Coast hip-hop and that of the West Coast. That would culminate in the shooting deaths of rappers Tupac Shakur and The Notorious B.I.G. But hip-hop has long been dogged by violence as many of its practitioners have come up through drug gangs (or at least claim to have).
Modern Hip-Hop
Since the turn of the Millennium, hip-hop has not only become the leading pop music genre, it’s also achieved a global impact – it’s known in almost every country. New stars come and go, but some have proved to have staying power, like 50 Cent and Eminem. It remains dogged in controversy for its misogynistic and homophobic lyrics, but still sells in the millions.
Much as rock’n'roll in the 1950s, it’s the sounds of youth, especially disaffected youth. So it’s found homes among teens. It’s proved especially popular in West Africa, notably Mali, which has a huge hip-hop scene, and the Middle East, where it has strong political overtones among Arab youth in Palestine.
But hip-hop doesn’t exist as a stand-along genre. It has influenced almost every type of modern music, from electronica to straight pop and rock, making it, without doubt, the most pervasive contemporary musical style.
Rap music was the first music I fell in love with. I listen to it daily still, and it’s a way of life for me. The world would suck without it. Yet, I see some problems in todays rap music.
It feels like rappers are now like actors playing a role. Or if they don’t want to be labeled as playing a role, when did lying become the cool thing to do? Maybe that’s just what I hear and I’ll tell you why…
5 Things Wrong with Rap
1. Killing People
This one is shameful because I don’t know any other music genre that does this. 99.97% of these rappers haven’t killed anyone, yet, they try to be creative with different ways to destroy you and your life. It’s one thing to talk about the things you have experienced in your life time, I know I haven’t lived in the best neighborhoods either. It’s something else to talk about murdering someone in every song. Kids are listening, and they usually repeat what they hear.
2. Disrespecting Women
I don’t know about you, but I love women. The world would be very gay without them (that was a joke). I have a mother also, so this is not the way you’re going to convince me that all women are bitches and hoes. They are the mothers of our children, a cornerstone of our communities and people we need to appreciate and respect.
3. Lyrical Content
I hate the radio. Why? Because constantly hearing songs about booty popping, and drinking in the club doesn’t always do it for me. With this site, I have a voice, and I choose to use it to inspire and educate people. I believe everyone is allowed to have their own creative form; so rap the way you want, but I’m not a fan of it when it dumbs the mainstream down. Your voice can be used to uplift, educate, inspire and much more. How about you use it wisely for a change?
4. Money
Rappers try to sell you the idea that they live a lifestyle with tons of money, big houses, exotic cars, etc. They don’t. There are a small handful of rappers (Diddy, 50 Cent, Jay Z, Kanye, etc.) who are living the lifestyle they rap about. Most rappers struggle day to day, paycheck to paycheck just like most of us.
5. Crime
This somewhat goes along with #1. Most of you rappers aren’t doing what you rap about, and honestly, I don’t know why anyone would brag about going to jail. Times are hard for everyone, but lying about committing crimes, and putting ideas into the youths minds isn’t cool, it’s sad.
Conclusion
This post doesn’t apply to all rap music, but if you are a rapper and think what I’m saying is bull shit… I’m probably talking to you.
I worked at a non-profit in Watts for 3 years. I asked a small kid what he wanted to be when he grew up and he told me his dream is being a rapper. I asked him to let me hear his rap and heard 40 seconds of killing, money, bitches, and bull shit. I see something wrong with that, something that needs a change. We need more artists like Nas, Mos Def, and others who rap intelligently about ideas, bring awareness and help our communities.
Editor’s note: This guest post is written by Edward James Bass, editor of Audio Silver Lining – an online resource and blog covering cloud based and collaborative music production.
The last few years have seen the emergence of online musicproduction services and tools such as Indaba, Audiotool and Soundation that offer artists and producers the chance to record, edit and mix tracks from within their web browsers rather than using installed applications.
Aside from being incredibly impressive and a lot of fun I feel this new technology offers some considerable benefits for music makers of all levels. Here’s a few of the more prominent ones…
Collaboration
As is the case with all cloud based applications collaboration is a key feature here. Since some existing online music production services have built strong communities around their services, the process of finding and communicating with musicians and producers to work with has become a fairly positive experience.
Admittedly questions have been raised about potential IP issues if a track ever gets commercial success but there is a strong argument for the fact that working via these services allows a means for artists to better track who contributed what and constantly monitor and review the terms of their working agreements.
Work anywhere
Having a DAW (Digital Audio Workstation) that is no longer physically tied to a specific machine is a potential winner for bands and artists on the move.
Not merely does it offer the chance to easily record and edit demo tracks from just about any location with connectivity but also a low value online backup of material. Finally that lost laptop no longer means a great lost album.
Try before you buy
The free signup and simplified features of online DAW’s and sequencers like Indaba, Audiotool and Soundation gives those who are new to music production the opportunity to try out recording, mixing and synthesis without having to shell out in advance.
For the Myspace generation already used to incorporating technology into their creative process this will likely prove to be less of hurdle than to older producers who are tied to their expensive desktop tools.
Social streaming
Whilst its relatively easy to mix down a track and upload it to Soundcloud or Myspace it is still time consuming and stifles the ability to “share the moment” with your friends and fans. Embedded widgets for social media and websites allow instant streaming of new tracks to the masses. So far two services – Audiotool and Indaba offer this feature and some nice looking widgets too
Shaking up the market
The existing non-cloud DAWs have been somewhat feature-stale for some time now, not to mention slow with regards to addressing the opportunities of social media.
This advancement offers them the chance to re-invigorate their products by creating online or hybrid versions that offer all of the above features combined with the reassurance of an established brand.
Ableton has already taken a step forward with regards to collaboration by offering a function that allows its users to share tracks and control who accesses them via an online interface – its fairly likely other vendors will follow suit soon.
Will the Cloud ever replace music production software completely?
Currently some professional and home studio producers have a certain reticence to this bold new area of music tech and see cloud based apps as pointless, simplified versions of their own tools. Indeed it will be sometime before online DAWs and sequencers can fully match the capability of systems such as Pro Tools, Cubase or Reason but it is certainly not the impossible vision some have supposed – just a case of developing on a different platform from the standard one.
As ever, improving technology is the driver here – better connectivity both via standard broadband and mobile connections as well as the proliferation of devices that use cloud based operating systems and apps will provide an environment where online music production is likely to thrive due to better stability and access.
Ultimately though, neither the naysayers and doubters or those enthused like myself can fully predict the route that music recording technology will take in the future. What has surprised me recently however is that some seem to think it will remain the same at it is now and surely that’s the least likely situation of all.
House Music in it's first form was Disco. So for the true History of House Music we need to start back in 1977 when Saturday Night Fever came out. Yes that cheesy movie with John Travolta is one of the main reasons that you and I can enjoy house music today, and should be written in the History Books as so.. It's strange how things work out sometimes.
Saturday Night Fever was an instant hit and because of it people started hitting the disco clubs. Disco at this time as a blend of 70's Funk, Soul Music, and Rock. Most of the Disco scene was in New York, and the venues where making a killing. A little later around 1979 or 80 it spread to the underground warehouses of the chicago and detroit.
Chicago & Detroit Created House Music
There was emense innovation and competition between the current DJ's. As you know "Necessity is the mother of invention", and the DJ;s in attempt to get the listeners hooked introduced new techniques to the way the music was being presented. This combined with its separation from New York disco helped it evolve into its own genre. House music was more raw, edgier, and incorporated more diverse sounds. Electric keyboards, Beat Boxers, as well as Beat Machines like the TR-808, TR-909, TB-303 helped refine it into what it is today.
This is why if you travel out to the Ohio, Indiana, Illinois, Missouri, and Iowa there is such a huge House Scene to this day. That was the birthplace and they still 20+ years later love that House Music Vibe.
Sub Genres of House Music
Acid House Music
Latin House Music
Disco House Music
Hard House Music
Progressive House Music
Deep House Music
Hard House Music
Funky House Music
Chicago House Music
NRG House Music
Tech House Music
Electro House Music
New York House Music
I'm sure i've missed a few items on the list but that is most of the sub genres. I hope this article has informed and possible motivated some of you House heads out there.
