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Hugo Jackson
of UK’s The Famous Class and Shake & Shout
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Hugo Jackson
of UK’s The Famous Class and Shake & Shout
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hen arriving in the UK, Jackson quickly made his way in the rock scene, and ended up supporting London-based band The Famous Class. He toured with the pop-punk trio and played in more than 20 concerts throughout Britain. “This was one of the most exciting project I’ve ever had. We even started writing and producing songs together for the band”, says Jackson.
Hugo Jackson
Hugo Jackson
of UK’s The Famous Class and Shake & Shout
of UK’s The Famous Class and Shake & Shout
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“I would never have done it without meth”
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Mainstream Pop
Your Billboard #1 song in a nutshell
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ti ArtisHow-To’s Artistic Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artis ’s o t How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How w o H
M ainstream Pop Your Billboard #1 song in a nutshell
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Technical & Recording Tips
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Contemporary Country Music
Turn your computer into a Nashville studio
Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artis How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How-To’s Artistic How
Contemporary C ountry Music Turn your computer into a Nashville studio
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Technical & Recording Tips
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FL Studio
To be pro or not to be
s l a i r o Tutorials Artistic How-To’s & Tips Tutorials Artistic&How-To’s Tips Tutorials Artistic & Tips How-To’s Tutorials Artistic & Tips Tutorials How-To’s & Artistic Tips Tutorials How-To’s & Tips Artis Tu Tut s How-To’s & Tips Tutorials & Tips How-To’s Tutorials Artistic & TipsHow-To’s TutorialsArtistic & Tips Tutorials How-To’s & Artistic Tips Tutorials How-To’s & Tips Artistic Tutorials How & TipArtistic &
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L Studio (formerly known as FruityLoops) is a digital audio workstation developed by the Belgian company Image-Line. FL Studio features a graphical user interface based on a pattern-based music sequencer. The program is available in four different editions for Microsoft Windows, including FL Studio Express, Fruity Edition, Producer Edition, and the Signature Bundle. Image-Line offers lifetime free updates to the program, meaning customers receive all future updates of the software for free. ImageLine also develops FL Studio Mobile for iPod Touch, iPhone, iPad and Android devices. FL Studio can be used as a VST instrument in other audio workstation programs and also functions as a ReWire client. Image-Line also offers other VST instruments and audio applications. FL Studio is used by electronic
The piano roll
musicians and DJs such as Afrojack, Avicii, Martin Garrix and 9th Wonder. The first version of FruityLoops was developed by Didier Dambrin for the Belgian company Image-Line and was partially released in December 1997. Its official launch was in early 1998, when it was still a four-channel MIDI drum machine. Dambrin became Chief Software Architect for the program, and it quickly underwent a series of large upgrades that made it into a popular and complex digital audio workstation. FL Studio has undergone ten major updates since its inception, and FL Studio 11 was released in April 2013. Noted programmer Arguru contributed to various editions of FL Studio. Version 11 is the newest version of FL Studio. Introduced in April 2013, it included multi-touch support, improved tempo automation, new plugins such as BassDrum, GMS, Effector, Patcher, and new piano roll features (VFX Key Mapper, VFX Color Mapper ). Version 10, introduced on March 29, 2011, included a new project browser, fixed some bugs, and smoothed envelope points. It also introduced a patcher. Version 9 introduced support for multi-core effects processing and improved support for multicore instrument processing.
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The sequencer
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Ableton Live
Or the easiest way to get your own home studio
Tutorials & Tips Tutorials & Tips Tutorials & Tips Tutorials & Tips Tutorials & Tips Tutorials & Tips Tu & Tips Tutorials & Tips Tutorials & Tips Tutorials & Tips Tutorials & Tips Tutorials & Tips Tutorials &
or the easiest w ay to get your own
home studio A
bleton Live is a software music sequencer and digital audio workstation for OS X and Windows. The latest major release of Live, Version 9, was released on March 5, 2013. In contrast to many other software sequencers, Live is designed to be an instrument for live performances as well as a tool for composing, recording, arranging, mixing and mastering. It is also used by DJs, as it offers a suite of controls for beatmatching, crossfading, and other effects used by turntablists, and was one of the first music applications to automatically beatmatch songs.
Create, Produce, Perform Create ideas, make changes without stopping, and capture everything as you work.
Live is composed of two ‘views’ – the arrangement view and the session view. The session view is primarily used to organize and trigger sets of MIDI and audio called clips. These clips can be arranged into scenes which can then be triggered as a unit. For instance a drum, bass and guitar track might comprise a single scene. When moving on to the next scene, which may feature a synth bassline, the artist will trigger the scene, activating the clips for that scene. As of Live 6, “device racks” have been implemented which allow the user to easily group instruments and effects, as well as map their controls to a set of ‘macro’ controls. The other view is the arrangement view, which is used for recording tracks from the session view and further manipulating their arrangement and effects. It is also used for manual MIDI sequencing, something for which a classical composer would have a greater affinity. This view is fairly similar to a traditional software sequencer interface. Clips may either be an audio sample or MIDI sequence. MIDI triggers notes on Live’s built in instruments, as well as third party VST instruments or external hardware.
created the “Launchpad” which is a pad device that has been designed for use with Ableton. Ableton has also released their own MIDI controller, the Push, which is the first pad-based controller that embraces scales and melody. In addition to the instruments mentioned above, Live can work with samples. Live attempts to do beat analysis of the samples to find their meter, number of bars and the number of beats per minute. This makes it possible for Live to shift these samples to fit into loops that are tied into the piece’s global tempo.
Additionally, Live’s Time Warp feature can be used to either correct or adjust beat positions in the sample. By setting warp markers to a specific point in the sample, arbitrary points in the sample can be pegged to positions in the measure. For instance a drum beat that fell 250 ms after the midpoint in measure may be adjusted so that it will be played back precisely at the midpoint. Some artists and online stores, such as The Covert Operators and Puremagnetik, now make available sample packs that are pre-adjusted, with tempo information and warp markers added. The audio files are Akai Professional makes the APC40, a MIDI accompanied with an “analysis file” in Live’s controller designed to work solely with native format. Ableton Live. A smaller version, the APC20, was released in 2010. Though there are Almost all of the parameters in Live can be hundreds of MIDI controllers compatible with automated by envelopes which may be Ableton, these Akai units try to closely map drawn either on clips, in which case they will the actual Ableton Live layout onto physical be used in every performance of that clip, or space. Novation Digital Music Systems has on the entire arrangement.
Tascam Portastudio Let the magic come true
Hardware Hardware Hardware Hardware Hardware Hardware Hardware Hardware Hardwa e r a w d r a ware HHardware Hardware Hardware Hardware Hardware Hardware Hardware Hardware Ha
Let the m agic come tru e with
Tascam
o i d u t s a Port T
he TEAC Portastudio was the world’s first four-track recorder based on a record to a hard disk, allowing for digital standard compact audio cassette tape. effects and up to 32 tracks of audio. One widely used model was the TASCAM 424 (in The Portastudio 144 made its debut in 1979 three versions), which offered a great deal of (priced at about $1200.00 Canadian) to be flexibility while still remaining inexpensive to followed by the Portastudio One in 1984. The use. Prior to the advent of digital recording, Portstudio One was a revolutionary creative the 424 was an easy and affordable way for tool. For the first time it enabled musicians bands to record demos or even commercial the ability to affordably record several albums. instrumental and vocal parts on different tracks of the built-in four-track recorder Tascam started out as a research and and later blend all the parts together while development group to research how to use transferring them to another standard TEAC’s recording technology in musician two-channel stereo tape deck (remix and and recording studio products. The group mixdown) to form a stereo recording. was called TASC (TEAC Audio Systems Corp). The founders included Mr. K. Tani, These machines are typically used by artists one of the founders of TEAC-Japan and Dr. to record demos, although they are also Abe, a senior TEAC-Japan engineer. In 1971 often used in Lo-fi recording. The analog TASCAM (TASC AMerica Corp.) was founded portastudios by TASCAM and similar units to distribute TASC products in the U.S. It also by Fostex, Akai, Yamaha, Sansui, Marantz, conducted additional market research in and others generally recorded on high-bias the US for the Japanese parent company. cassette tapes. Most of the machines were The company’s first headquarters was in Los four-track, but there were also six-track and Angeles. In 1974 it moved its headquarters eight-track units. Some newer digital models to Montebello.
They used it! Guided By Voices recorded much of their classic-era songs on a Tascam 4-track. Primus’ first release Suck on This, a compilation of several live performances, was recorded entirely on a TASCAM quarter-inch eight-track Portastudio. John Frusciante recorded his two first solo albums Niandra Lades & Usually Just A T-Shirt and Smile From The Streets You Hold on a Portastudio 424 (source: VPRO 94 interview). Bruce Springsteen recorded his album Nebraska on a Portastudio 144. Travis Meeks of Days of the New recorded “Cling” on a TASCAM four-track in his sessions leading up to his debut album. John Vanderslice, an analog recording enthusiast, made Life and Death of an American Fourtracker, a concept album about home recording, including the song “Me and My 424.” Marilyn Manson recorded The Family Jams on a four-track Portastudio. Alan Wilder recorded his first solo album 1+2, under the nickname Recoil, on a fourtrack Portastudio. Ween recorded their second album, The Pod, on a Tascam four-track. Portastatic was named after the Portastudio Mac McCaughan used to record the songs that became its first album. And many more...!
TASCAM is the professional audio division of TEAC Corporation, headquartered in Montebello, California. Tascam is credited as the inventor of the Portastudio, the first cassette-based multi-track home studio recorders. Tascam also introduced the first low-cost mass-produced multitrack recorders with Simul-Sync designed for recording musicians. Tascam also manufactured reelto-reel tape machines and audio mixers for home recordists from the early 1970s through the mid-1990s. Multitrack recording (MTR)—also known as multitracking, double tracking, or tracking— is a method of sound recording that allows for the separate recording of multiple sound sources to create a cohesive whole. Multitracking became possible with the idea of simultaneously recording different audio channels to separate discrete “tracks” on the same tape—a “track” was simply a different channel recorded to its own discrete area on tape whereby their relative sequence of recorded events would be preserved, and playback would be simultaneous or synchronized. In the 1980s and 1990s, computers provided means by which both sound recording and reproduction could be digitized, revolutionizing audio distribution. In the 2000s (decade), multitracking hardware and software for computers was of sufficient quality to be widely used for high-end audio recording.
Tascam Portastudio
Tascam Portastudio
Let the magic come true
Let the magic come true
Hardware Hardware Hardware Hardware Hardware Hardware Hardware Hardware Hardwa ware Hardware Hardware Hardware Hardware Hardware Hardware Hardware Hardware Ha The mp3 format brought new technical standards. The most important difference between the mp3 and previous formats is that mp3s are non-physical audio files. This feature leads to several benefits: tiny devices can carry great durations of audio files, which can also be stocked in hard drives instead of large vinyl records and compact discs. But the ability to share audio files directly through the internet is both the main benefit and drawback of the format; for the first time in history, people became able to get and give audio content without any physical interaction with someone else. As said before, digital format do not deteriorate, and enabled the average music listener to instantly make identical copies of one CD or mp3 file, which made private copy even more acceptable than before . The widespread use of CD burners was a problem, but still imposed a physical interaction with others to share the audio content; whereas the mp3 format and the internet made sharing easier than ever before with file hosting, streaming, peer-to-peer and other services. This technological revolution drastically changed the way music is marketed by the main actors of the music industry, namely music corporations and labels. Even though there are several other possible uses of mp3 audio files, the recorded music industry was most directly affected by the new format. It is very interesting to focus on how the market actors reacted to the emergence of dematerialized music, therefore opening the way to many other non-physical formats such as movies (video on demand), book (e-book and e-readers) and video games (online distribution platforms). Some mistakes were made in the transition from selling physical products in local stores to selling licenses in online platforms; and the film, book and video game industries obviously benefitted from the music market’s experience, consequently making their own transitions easier . The first reaction of the music corporations clearly was to try to prevent people from using the new mp3 technology, since CDs were no match compared to its space-gaining and easy-sharing features. In the early 2000s, many “protected” CDs
“It’s like a rocket in your pocket!”
*
THEN VS NOW
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included additional content – such as pictures and videos of the artist – which could be read by a computer, instead of the CD audio tracks. Since music could not be read by the computer, it could not be copied and shared. As is often the case, this system was more detrimental to lambda users who only wanted to play their legally bought CDs on their computer, than to accomplished pirates who eventually managed to extract music from protected CDs and put it online . Adapting was not an easy thing, especially due to the emergence of the internet which urged firms to make in-depth changes.
The mp3 format is now a standard, in the same way as vinyl records and CDs used to be. The digital audio file format, whose file extension stands for the lengthy “Moving Picture Experts Group Audio Layer III”, was created by German research organization Fraunhofer Society in 1994 and became popular almost immediately. Even more than radio contributed to the spread of records, the internet encouraged the used of the mp3 format by making it possible for people to share and market music online without any physical interaction. This revolution changed way music was sold, created new opportunities for artists and amateurs to distribute their work, radios and podcast programs online, and allowed the audience to choose from many ways of getting content, from the classic online store to freemium streaming services to illegal downloading.
The widespread illusion that everything is free on the internet, and in a larger extent that the internet is nothing but virtual is a very important issue. Only a very small portion of the population would steal goods in a grocery store, whereas a great percentage downloads illegal content online on a regular basis . The problem also is about the terminology “stealing”, since the word implies the deprivation of someone else’s property, whereas piracy and copying only consists in getting paid content for free without causing any prejudice but the shortfall.
As an analog support, Vinyl records feature directly engraved waveform, which provides a variable signal played through the gramophone amplifier. The main difference between the old analog, and the new digital supports, is that the information is physically present on the analog disk and just needs to be played, whereas in the digital media the information is encoded in binary data. This data needs to be read and interpreted by the appropriate device, then transformed into playable audio sound. The mp3 format was not the first digital audio format though, since the CD already provided digital content since the early 1980s. The digital format is sometimes criticized for not genuinely reproducing the original recorded waveform and therefore not being as pure and faithful, mainly due to the mp3 lossy compression algorithm. On the other hand, CDs and MP3s are respectively physically and digitally smaller than previous audio formats, while they do not deteriorate after being played many times.
This is why some entrepreneurs came up with new systems, made possible by the era of the “Web 2.0”. Online stores like iTunes and Amazon Music did not seem to be innovative enough because they only allowed users to download songs and podcasts online in return of a few dollars. Many pointed out the limitations of this system , arguing that the customer was not actually sold a song but a license. When buying music online, customers only get a restricted right to use the song, therefore facing issues with DRM (Digital Rights Management) preventing the user from copying the audio from one device to another. The solution of freemium allowed listeners to access their favorite music, radio and podcast content free of charge because ad-supported.
Images credits:
Wise words
p.1 Ableton Press Kit
from the editor-in-chief
p.4-7 http://www.facebook.com/ shakeandshoutuk http://www.facebook.com/thefamousclass p.8-9 http://www.dreamstime.com/ http://www.nymag.com/arts/ cultureawards/2011/pop-musicreemergence/ p.10-11 http://parade.condenast.com/5111/ jmarquez/10-most-controversial-countrysongs/ http://majorconflict.blogspot.com/2013/09/ cookie-cutter-country-music.html p.12-15 Image-Line Press Kit http://www.mavericksrecording.com/ http://musician-makers.com/ p.14-15 Ableton Press Kit http://www.studioracks.co.uk/ p.16-19 Tascam Press Kit http://fr.audiofanzine.com/studioanalogique/tascam/magneto/ http://www.dolphinmusic.co.uk/
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hank you for reading this magazine! I hope you enjoyed reading it as much as I enjoyed writing and creating it. I would also like to thank Adobe for their software InDesign, which has absolutely nothing to do with Scribus, some awful free equivalent. Take that, open software community! If you are the owner of one of the pictures I stole got from the internet, feel free to send me an e-mail prior to suing me; it will spare you a lot of time and money because I have an extremely good lawyer. If you have actually read this magazine, it seems like you have too much free time. Therefore, you should as well visit my website by scanning the QR codes at the bottom of this page! To our beloved professor Roses are red Violets are blue I learnt the word “spread” It’s all thanks to you
Copyright © 2014 Nicolas Velai