noah

Sophisticated Rhythms: 2 Mixes, 2 Approaches, For Your Listening Pleasure

Mixes have become another essential reflex of this age of overabundance, a way of navigating in material form the rhythms that come our way. I turn this weekend to mixes by two close friends. Matt Earp, aka Kid Kameleon (top), has been a CDM contributor in the past; his background spans music and technology and a wide breadth and depth of knowledge in those areas. Noah Pred is simply one of the finest DJs and producers I know, the ever-tasteful mind behind the massively underrated but prescient label Thoughtless Music. Each mix is singular in purpose, full of the sort …

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Bleep’s Rad-Fi: Hackable, Bendable Synth and Effect on a Breadboard

How much freedom do you want when building things? You want the ability to experiment and make choices, but you also want the process of making to be easy enough that you can play. Bleep Labs last week introduced the first two kits in a series they’re calling Rad-Fi. The idea is, follow the instructions, and you can build a synth and an effect quickly by connecting parts on a breadboard. That makes kit assembly stunningly easy, because there’s no soldering involved. It also means it’s very possible to make modifications by snapping in additional parts, or, if you want …

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richard

Crowd-funding Campaign Wants to Pay Back Amen Break Creator

It’s the best-known sample of all time. It might be the most-heard six seconds of sound in modern recording. But before it became the “Amen break,” the signature riff was part of The Winstons’ song “Amen, Brother.” And so, how much did the artists who actually produced the original sound earn from their “success”? Well, that’ll be … nothing, apart from the original revenues from the 1969 release. Nothing in royalties from its use … well, seemingly everywhere. (N.W.A.? Oasis? Futurama? Check.) Zip. Zero. The drummer, Gregory Coleman, died homeless in 2006. Richard L. Spencer, the vocalist and sax player …

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Seze Devres Photography NYC www.sdphotography.net

In An Avalanche of Modular, Here’s the New Gear You Need to Know

You know you’re at peak modular when Moog is reissuing 1970s synths for US$30,000. It wasn’t long ago that people were relegating modular synths to closets, selling them off, and even – really – throwing them in dumpsters. Now, the once-archaic racks of synthesizers connected with patch cords are suddenly cool. Moog rockstar chic aside, the trend is mainly driven by Eurorack, a format introduced years ago by Doepfer that has made it easier to manufacture and buy interchangeable rigs. Moog is making only a handful of those System 55 rigs, so even they acknowledge you probably can’t afford them. …

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rachelarmstrong

The Future of Music in Skin and Molecules, Now in Berlin

The music technology industry continues to pump out things with knobs, and things that sound like the 1970s – sometimes, literally so. And we love them for it. But if you feel dizzy after all this tumbling backwards in time, let us take you on a ride back into the future. It’s the reason we’re in Berlin and not Anaheim this week, and I think you’ll enjoy it. A lot. CDM joins again with CTM Festival to explore the possibilities for music’s future in an intensive laboratory of creation, featuring speakers, on-the-spot hacking and experimentation, and finally a live performance …

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System_35

Moog’s Historic Big Modulars Return – You Say You Want a Resurrection?

Synthesizers are now old enough to become “classics,” to have a canonical form – much like the Steinway D in pianos or the Stradivarius violin. So, that leaves us a choice: do we make something new, even if fashioned out of the old, or do we reissue the historical instrument as it originally was? Answer: all of the above. At NAMM this week, I expect you can find representatives from the whole spectrum between past and future. But the company that more than any other has defined what it means to be a “classic” is now setting their time machine …

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30drop

You Haven’t Heard of 30drop, But You Should Hear This New LP [Techno]

30drop has mysteriously arrived from Detroit Underground (aka “detund”), those purveyors of strange and wonderful techno and experimental music. You may think you’ve heard of 30drop, but apart from the release last week, you almost certainly haven’t. Oh, sure, there have been releases — a second EP showed up in December — but for the most part, this act has flown under the radar. As per usual, detund are digging up precisely what isn’t on trend or rising in popularity, an unknown artist making cooly-weird noises. But the pace is picking up – and this looks to be one of …

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xmasbells

Get Christmas Bells Free for Ableton Live and Other Tools

There is so much bell action in this free download, there are bells combined with other bells. There are church bells, and there are Yamaha DX7 bells, synthesized through FM. It’s maximized Christmas soundware. Once you fire this up, it’s like an Egg Nog with a mulled cider inside and then a duck inside that. And, incredibly, it’s the 114th Ableton pack release from Brian Funk, aka electronic musician (and certified Live trainer) AfroDJMac. That’s 114 free downloads – far more than we could ever hope to cover. Because these are Ableton Live sound packs, you can actually open up …

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synergy

This Movie Clip Sums Up the SFX-Beatport Vision of the Future of Dance Music

Synergy. That’s the direction you can expect from Beatport and SFX Entertainment. And the speech above from the film In Good Company more or less fits. (The plot of that 2004 movie even includes an acquisition by a conglomerate.) Basically, SFX may have solved the problem of how to make money in the streaming business – by making its money elsewhere. Or, it seems that’s the plan. Here’s the problem: music streaming has razor-thin margins versus sales. The artists and labels eek out fairly small bits of change, generally. They can blame the streaming services, but with those services having …

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jeffmills

Jeff Mills on Audiences, Techno’s “Who Cares If You Listen”

Techno legend Jeff Mills has a beautiful quote making the rounds on social media, responding to the question of audience. He’s still making music for them, he says – but doesn’t want to get pulled into simply giving them what he knows will work. Watch from about 8:30 for the video above, in its original context (a 2010 tugobot piece). It resonates for me with the Milton Babbitt’s “Who Cares if You Listen?” (That’s a title Babbitt claimed he never used; this is a tale so familiar to contemporary music that it has its own Wikipedia entry, for those of …

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