One of the most exciting improvements in Live 9 is the Convert Audio to MIDI feature. This easy-to-use function opens new creative possibilities for working with audio recordings by enabling users to extract MIDI notes from an audio file. In this tutorial, Max Wild takes this concept a step further and demonstrates how to transcribe an a cappella by ear. By looking at the rhythms and pitches separately, he demonstrates a practical method for re-creating vocal melodies in your productions.

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want.

What’s Included:

• Music Foundations Level 1: Pads & Rhythmic Theory
• Music Foundations Level 2: Keys & Melodic Theory
• Music Foundations Level 3: Electronic Music Appreciation

This course exceeded my expectations. I went through everything I needed to have a solid knowledge of basic music theory.
- Jonathan Crespo, Miami

MF has been an amazing experience! I didn’t realize I was going to learn so much about electronic music history, something my generation missed.
- Yianno Koumi, United Kingdom

NYC COURSES
Morning Class: Starts June 18, 2013. Tuesdays and Thursdays from 10:15 a.m. to 1:00 p.m.
Evening Class: Starts August 28, 2013. Wednesdays and Fridays from 6:15 p.m. to 9:00 p.m.
Weekend Class: Starts June 2, 2013. Sundays from 1:00 p.m to  7:00 p.m.

ONLINE COURSES in session with seats still available. Register today!

Start dates and information about payment plans can be found here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/MF_Max_Wild_Blog_7.jpg

Dave Q is a New York City DJ and founder of Dub War, the first dubstep night in the U.S. which became a portal for artists such as Kode 9, Mala, Loefah, Skream, Actress, Shackleton, and Ramadanman to expand their global audience. After the end of the seminal monthly club night in 2010, Dave established a new party series called Twisup and continues to bring new sounds from all over the world to New York City.

In this conversation with Dubspot’s Raz Mesinai, Dave talks about his career in music, from playing bass in bands to DJing and influence of labels such as Warp Records and artists like Aphex Twin and Autechre. Dave also talks about, embracing new tempos and textures, incorporating Chicago juke and footwork in his sets, not fetishizing UK dubstep, the accelerated popularity and increasingly narrow definition of dubstep, and constantly expanding bass music universe.

Next Monday, May 27, Dave Q will play a special all night set at Deep Space club night at Cielo! To get ready for this special occasion, listen to this live mix Dave and Raz recorded for Dubspot Podcast Series.

Also make sure to check out our last interview with Dave Q, a written discussion with Mike Steyels from 2011.

Dubspot Podcast

/files/2013/05/Wireless_DaveQ_Blog_2.jpg

DJ industry leaders Pioneer and Native Instruments have been collaborating on some groundbreaking new projects that are making it easier than ever for Traktor DJs to set up for a performance. With the new Pioneer CDJs and mixers now available, Traktor DJs can now show up to the club and set up with ease. Recently, Pioneer came out with its brand new industry standard club mixer, the DJM-900nexus. Not only does the DJM-900nexus mixer allow for almost every possible professional DJ setup, it also contains a built-in 24bit 96khz Traktor Scratch Certified soundcard so Traktor DJs can plug into the mixer’s USB port and have all four decks routed automatically to each channel of the mixer without needing to use an external soundcard.

Some artists who are already using the DJM-900nexus mixer with Traktor are Sharam, Pete Tong, Felix Da Housecat, David Morales, Steve Lawler, Diplo and MSTRKRFT.

The mixer’s built-in sound card can read Traktor Vinyl or Traktor Timecode CDs, so you can just plug the turntables or CDJs directly into the mixer and you’ll be ready to control each deck in Traktor with timecode. The mixer also has a built-in Direct Thru, so you can switch quickly and seamlessly between using Traktor with timecode and using regular vinyl records or audio CDs with the mixer’s channel selector switch. Head over here to read my full overview of the Pioneer DJM-900. – Endo

Digital DJing w/ Traktor Pro

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside more traditional turntables and CDJs, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the Digital DJing with Traktor program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

What’s Included

• Digital DJing w/ Traktor Pro 2 Level 1: Introduction to DJing
• Digital DJing w/ Traktor Pro 2 Level 2: Phrase Mixing
• Digital DJing w/ Traktor Pro 2 Level 3: Beyond The Beatmatch

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college teachers  were more like these two!” – Leandro Martinez, Chicago IL

More start dates and information about payment plans can be found here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/Endo_DJM900_Blog_1.jpg

In this article, I will take an approach similar to the one I used in Electronic Music Theory: Learning From Beethoven’s Symphony No. 5., in which I compared Beethoven’s 5^th symphony to NiT GRiT’s track “12 Gauge.” However, instead of analyzing two pieces of music, I will analyze compositional techniques used in gamelan music, and show how you might incorporate them into your own music.

WHAT IS GAMELAN MUSIC?

A gamelan is an Indonesian traditional musical ensemble. The term “gamelan” actually refers to a group of instruments, much in the way “orchestra” is used in the West to signify a combination of strings, brass, woodwinds, and percussion. In Indonesia, gamelan means a combination of metallophones, drums, gongs, zithers, and flutes. One major difference from western ensembles, however, is that each set of gamelan instruments is a unique entity, built and tuned to work together.  The instruments usually can’t be switched between different ensembles.

There are two main styles of gamelan music: Javanese  and Balinese. Javanese (and its offshoot, Sudanese) tends to be calm and meditative, while Balinese is more aggressive.

Although the above example may seem to be far removed from the music we make and listen to, much of the underlying structure is quite similar, while other aspects are conceptually foreign.

The functions of the instruments of the gamelan can be broken into three categories: Melody, Time, and Structure.

0:00 – Intro melody is stated on flute.

0:25 –  Melody is repeated twice on metal xylophone (at first it may be hard to recognize the xylophone and flute melody to be the same, but they are).

1:18 – A new tempo is introduced.

1:26 – Two xylophones patterns interplay. The right side is brighter and more active, but occasionally it drops notes which are filled in by the mellower xylophone in the left ear. In electronic music, this sort of effect is sometimes achieved by applying random panning effects to a sequenced pattern.

2:43 – The pulse is removed and the melody is repeated on flute.  This creates contrast and tension before the drums come back with a heavier groove at 3:15, much like the breakdown in a dance track.

This final example is a Balinese gamelan ensemble. Stylistically it is more intense: there are repeated radical changes to the tempo and sonic colors. It’s as if there is a battle going on between the different instruments, in contrast to the more relaxed Javanese example above.

______________________________________________________________________________________

Michael Emenau a.k.a. MNO has worked professionally as a musician (vibraphone, percussion, laptop), producer, remixer and arranger for 25 years, playing such diverse genres as, jazz, rock, drum’n’bass, salsa, techno, country, Hindustani, gospel, baroque and orchestral music. He has recorded on over 150 CDs, composed music for eight films, toured internationally, and lived on three continents. Michael was the house studio mallet percussionist for Sony Records (Japan) in the 90s, was a founding member of the award winning “Jazz Mafia” as well as working as a producer/remixer for Six Degrees Records in San Francisco, arranged and produced contemporary multimedia productions of the 16th-century composer Henry Purcell in Paris and is now writing a musical based on the life of Dionysus and dividing his time between Montreal and New York.

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, strengthen their keyboard skills, and learn valuable music theory, deepening their creative practice and facilitating effective collaborations with musical partners.

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want.

What’s Included:

• Music Foundations Level 1: Pads & Rhythmic Theory
• Music Foundations Level 2: Keys & Melodic Theory
• Music Foundations Level 3: Electronic Music Appreciation

This course exceeded my expectations. I went through everything I needed to have a solid knowledge of basic music theory.
- Jonathan Crespo, Miami

MF has been an amazing experience! I didn’t realize I was going to learn so much about electronic music history, something my generation missed.
- Yianno Koumi, United Kingdom

NYC COURSES
Morning Class: June 18, 2013; Tuesdays and Thursdays 10:15am-1pm
Evening Classes: August 28, 2013; Wednesdays and Fridays, 6:15pm-9pm
Weekend Classes: June 2, 2013; Sundays, 1:00-7pm

ONLINE COURSES in session with seats still available. Register today!

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/Gamelan_4.jpg

In case you missed the previous videos within this series, check out parts one and two.

In the final episode of Clive Chin: The Lost Archives, the legendary Jamaican dub, reggae, and ska producer and Brooklyn-based engineer and producer Billy “Prince Polo” Szeflinski of The Kennel talk about the process of restoring, cataloging, archiving and digitizing hundreds of hours of music recorded by Clive and his late father Vincent “Randy” Chin at 17 North Parade in Kingston during the heyday of Jamaican reggae, ska, and dub music.

Among the hundreds of tapes which lay undisturbed for nearly 40 years were recordings by many of Jamaica’s greatest stars including Max Romeo, Aston “Family Man” Barrett, Alton Ellis, Jimmy London, The Gladiators, The African Brothers, Bob Marley, Peter Tosh, Gregory Isaacs, Lord Creator, U-Roy, and Tommy McCook.

Clive explains how they recorded the music back in the late 1960s and ’70s, the recording technology and production process, and Prince Polo talks about mixing and remixing the recordings using vintage equipment as well as modern music technology to add new vocals and instruments to the tracks, many of which were unfinished instrumentals.

Clive Chin Prince Polo plan to release release the newly restored and mastered recordings from 17 North Page soon. Stay tuned tuned to Dubspot for more!

/files/2013/05/Clive_Chin_3_Blog_2.jpg

Conception Performance Pack for VDMX

Dubspot Visual Performance course designers Benton-C Bainbridge and V Owen Bush (aka Glowing Pictures) have just released “Conception,” a new visual performance pack that they were contracted to create for Vidvox’s VDMX software. This download offers “a free set of creative commons licensed video clips from GLOWING PICTURES for use in VDMX and other Visual Performance applications.” You can download the performance pack here and you can check out the visuals below (note the fantastic soundtrack by Dubspot’s Professor Nalepa.)

Click here to view the embedded video.

Vidvox’s VDMX software is a powerful tool for creating motion graphics and visual performance. The program offers a modular system of tools that allow you to integrate multiple types of media into a custom performance workflow.

“VDMX can provide any solution we can think of for visual performance and installation,” explains V Owen Bush. “If the solution isn’t already built into VDMX, you can bring in input from other applications, video inputs, webpages, MIDI, DMX or OSC control, or build your own effects in Quartz Composer, and route them all through VDMX to the display. So VDMX is usually the only tool we need for live visual interaction and it’s always the hub of any video project.”

Glowing Pictures @ EDC NY

Benton-C Bainbridge and V Owen Bush will also be performing this weekend at the EDC NY event where they will be performing live visuals on the Neon Garden stage. “For EDC we’ll be working with Vello and Peter from  V Squared Labs. On Friday I will be assisting Vello on the main stage and on Saturday Glowing Pictures will do visuals for the “neon garden” stage all day & night,” Explains Bainbridge.

/files/2013/05/VDMX_4.jpg

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, strengthen their keyboard skills, and learn valuable music theory, deepening their creative practice and facilitating effective collaborations with musical partners.

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want.

What’s Included:

• Music Foundations Level 1: Pads & Rhythmic Theory
• Music Foundations Level 2: Keys & Melodic Theory
• Music Foundations Level 3: Electronic Music Appreciation

This course exceeded my expectations. I went through everything I needed to have a solid knowledge of basic music theory.
- Jonathan Crespo, Miami

MF has been an amazing experience! I didn’t realize I was going to learn so much about electronic music history, something my generation missed.
- Yianno Koumi, United Kingdom

NYC COURSES
Morning Class: June 18, 2013; Tuesdays and Thursdays 10:15am-1pm
Evening Classes: August 28, 2013; Wednesdays and Fridays, 6:15pm-9pm
Weekend Classes: June 2, 2013; Sundays, 1:00-7pm

ONLINE COURSES in session with seats still available. Register today!

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/MF_Course_Preview_Blog_4.jpg

The ability to sync your Traktor track collection with your main Traktor computer via Dropbox is one of my favorite features in Traktor Pro 2.6.1, sharing track info including cue points, beatgrids and BPM/key information. This opens up the possibility of doing a lot of the prep work for a performance (beatgridding tracks, setting cue points, etc.) on the iPad’s inviting touchscreen and then syncing your work with your main computer before the gig. Head over here to read my full overview of Traktor DJ. – Endo

Digital DJing w/ Traktor Pro

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside more traditional turntables and CDJs, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the Digital DJing with Traktor program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

What’s Included

• Digital DJing w/ Traktor Pro 2 Level 1: Introduction to DJing
• Digital DJing w/ Traktor Pro 2 Level 2: Phrase Mixing
• Digital DJing w/ Traktor Pro 2 Level 3: Beyond The Beatmatch

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college teachers were more like these two!” – Leandro Martinez, Chicago IL

More start dates and information about payment plans can be found here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/Endo_iPad_3_Blog_1.jpg

We caught up with the brilliant performance artist Reggie Watts at South by Southwest 2013 for an interview in which he talks about his creative process, musical influences, and his less is more approach to performance tools and music technology. During his performance at The Austin Museum of Modern Art, Reggie Watts shifted between stream of consciousness stand-up comedy to live, improvisational compositions using a limited analog-based performance setup which includes some guitar pedals and loop samplers. Though it all, he remained  funny and spontaneous, making the performance up as he went along.  After the performance, he talked to us his performance rig and the benefits of using tactile  analog tools for creation. He also told us about JASH, a comedy network and collective he formed with Michael Cera, Tim & Eric, and Sarah Silverman.

/files/2013/05/Reggie_Watts_Blog_4.jpg

While many dance music genres have emerged over the last several years, moombahton is one that is still heating up dance floors and earbuds at a steady pace. Recently, I quipped that the sound was becoming so ubiquitous that you couldn’t walk into a retail store without hearing those drums. Those drums! While I may have been exaggerating, there’s no denying that moombahton is more than a passing trend.

As a sound grows and expands past its initial buzz, it’s hard to know where it begins and ends. Like most, I know moombahton based only on what I’ve heard. But I don’t want to be just another hanger-on, so I set out to find what sets the genre apart, where it’s headed, and who the most influential players are in the game today.

Dave Nada and the Creation of the Moombahton sound

In case you missed it, the “Moombah” in moombahton references the song of the same name by Silvio Ecomo & Chuckie. The moombahton creation story begins with DJ Dave Nada slowing down the Afrojack remix of this tune. Nada was booked to play at a reggaeton party with only EDM tracks in his arsenal, so he slowed “Moombah” down from 128 to 108 BPM to make the transition into a more house-focused set, and the kids at the party went nuts. A few months later, Nada released an official remix of “Moombah,” and a genre was born.

Check out the original Afrojack remix of Moombah, then give a listen to Nada’s version:

Dem Bow – The Riddim

The drum syncopation in the slowed-down version sounded a great deal like the riddim (drum pattern) found in reggaeton tracks. This beat is called “Dem Bow” (or “dembow”), after the hugely popular Shabba Ranks track of the same name. Familiar to anyone who has heard reggaeton or dancehall, this riddim is also the backbone of moombahton.

Moombahton may have the riddim of reggaeton, but it borrows some of its instumentation from house music and grime. When I asked DJ Sabo, moombahton DJ and producer, about its other defining characteristics, he said the genre is not defined strictly by its tempo, drum pattern and synth lines.

“Not having specific ‘rules’ is what makes it so great,” says Sabo. “You can pull from any musical and cultural influence and use that to make a moombahton record. Either it has the moombahton vibe or it doesn’t. I think it’s amazing because there really are no rules other than the general BPM be around 108 – 110. People are making tracks that use influences from all types of music – latin, afro, disco, techno, house, rave, dubstep, soul, funk, reggae and more – and that’s what makes it exciting. I think it’s these various interpretations of the genre that will keep it fresh and help it to grow.”

So, where is this genre headed? When Diplo releases a moombahton record to the masses, is the genre over or is it just beginning? While the Dem Bow backbone and house music influences continue to shine through, artists are becoming increasingly creative with vocals, basslines, and song structure. Dubspot instructor and moombhaton producer Joe Caputo (aka Computo) thinks that the genre has expanded in many different directions quickly because “it developed in real time internationally, thanks to the web. It’s really the first global genre, because everyone who was aware of that global community was being influenced by each other.”

Some of the artists DJ Sabo recommends are:

Munchi:

Gent & Jawns and Nadastrom

Boyfriend

Disgraceland

Craze

As with all forms of dance music, moombahton is best experienced with other people, dancing. If these new sounds catch your attention, Sabo is throwing a moombahton party at Output, Thursday, May 16. Details are here. See you there.

Dubspot blogger Rachel Dixon was a Handel and Haydn Vocal Apprentice, studied at New England Conservatory, briefly sang lead vocals for the Phoenix punk band Scrimshaw, managed the guestlist at Boston nightclubs Avalon and Axis, and was on the design team for the Dance Central video game franchise. She is a published fiction writer, bedroom songwriter, and poet who lives in New York City with her dog.

/files/2013/05/MoombhaThumb_1.jpg

In this second video tutorial on trap drum programming we’re going to explore MIDI processing in Logic’s environment to control the hi hats in our pattern. We’ll be using Logic’s transformer object in the environment to split each MIDI note apart and process them separately in Logic’s environment.  Once the notes are split apart, we will then send those signals to different arpeggiator objects which are set to different patterns. This will allow us to hold down one note to play a 1/16th note hihat roll and another note to play 1/32nd notes.  We’re also going to add similar processing for the snares and aslo add pitch control via the modulation wheel on your MIDI controller. – Matt Shadetek

For further exploration of Logic check out Dubspot’s six-level Logic Pro Producer program, designed by Matt Shadetek:

Master Logic with our complete program of courses culminating in a four-track EP ready for release. In addition to achieving a complete overview of the composition process in Logic you’ll also earn the Dubspot Producer’s Certificate in Logic Pro. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, and a scored commercial to widen your scope.

What’s Included

• Logic Pro Level 1: Shake Hands with Logic
• Logic Pro Level 2: Completing Your First Track
• Logic Pro Level 3: Mixing Essentials
• Logic Pro Level 4: Sound Design & Instrumentation
• Logic Pro Level 5: Advanced Composition & Production
• Logic Pro Level 6: Taking Your EP Global

Music Production with Logic Pro classes just started; sign-up today!

/files/2013/05/Logic_Trap_2_Blog_2.jpg

Dubspot EDU Sessions @ Youthville, Detroit

The legendary Movement Electronic Music Festival is about to erupt in Detroit once again and Dubspot will be on-hand to deliver educational workshops, demonstrations, and performances during our visit to Motor City. There will be five free workshops available on Saturday May 25, 2013 at Youthville in Detroit taught by special guests Mike Huckaby (Tresor / S Y N T H / Deep Transportation), Thomas Faulds (Ableton), Justin James (m_nus), and Dubspot’s own Matt Cellitti.

11-11:45am Ableton Push 101 & Demonstration // Thomas Faulds [Ableton] & Justin James [m-nus]
12:00-12:45pm Sound Design & Synthesis Techniques w/ Komplete 9 // Matt Cellitti
1:00-1:45pm Creative Production Strategies w/ Maschine // Mike Huckaby
2:00-2:45pm Audio To MIDI Conversion w/ Ableton Live 9 // Matt Cellitti
3:00-3:45pm House Music Production w/ Ableton Live 9 // Mike Huckaby

RSVP TO OUR FACEBOOK EVENT PAGE HERE.

Dubspot @ Movement, Detroit

While you’re at the Movement Festival at Hart Plaza, come check out our booth at the Movement technology area to see out some of the newest music technology, software, and hardware. Instructors and the admissions team will be available for Q&A sessions and support. Learn a bit about music production in between sets!

Over the past decade DEMF / Movement has become one of the United States’ premier electronic music festivals, with each year’s lineup hand-picked with the hardcore electronic music enthusiast in mind. And while the festival’s roots lie in techno, the music policy at Movement continues to evolve and embrace artists who are pushing the boundaries of dance music in new directions. Each year aims to be better than the last, and Paxahau’s 2013 Movement experience offers a huge lineup of talent including Masters at Work, Moodymann, Andy C, Mala, Richie Hawtin, Silent Servant, The Bug and many more. And while the lineup seems to be getting bigger each year, the real appeal of this event is the midwestern hospitality: everyone in the city seems to be celebrating at festival time, and last year the mayor of Detroit publicly announced the week of the festival as “Detroit Techno Week.” A beautiful location at Hart Plaza and really reasonable prices for a weekend of top-notch entertainment keep bringing us back for Movement. Tickets are currently on sale and can be purchased at Movement’s website.

YouthVille Detroit

Regardless of age, level of education, sophistication, whether from the city, suburb or farm, people are amazed when they first walk into YouthVille Detroit.  In a few short years, it has become a landmark of hope and pride for the city of Detroit, the region and the state. It is a destination point for youth needing a safe and nurturing place to have fun, dream, learn, and participate.

/files/2013/05/Movement_EDU_1.jpg

In this video series, legendary hip hop producer and music icon Prince Paul is joined by his son and music partner DJ Pforreal to address the important issue of new school vs. old school. The duo address important  topics such as the increasing loudness in sound recordings and call for producers and engineers to please turn it down – more dynamics! They also talk about beatboxing (from the original Human Beat Boxer Doug E. Fresh and the The Diabolical Biz Markie to Rzhzel the Godfather of Noyze), counting BPMs, pick-up lines, basketball, and choosing the right glasses to complement your style and personality.

This is the sixth video in an ongoing series created to accompany the release of Prince Paul and DJ Pforreal’s Negroes on Ice album, currently available online and in stores.

Prince Paul (Paul Huston) is a legend in the world of hip hop who was originally part of the early 80s rap outfit Stetsasonic and later went on to create the iconic sounds of early De La Soul albums, the Gravediggaz project (with RZA), Handsome Boy Modeling School (with Dan the Automator), as well as a series of solo albums. As a collaborative guru for music production, Paul has worked with great musicians from almost every genre including Alec Empire, Linkin Park, Faith No More’s Mike Patton, Living Colour’s Vernon Reid, and Parliament keyboardist Bernie Worrell (to name just a few). Prince Paul’s calling card on almost all his productions is an intelligent (yet sometimes silly) sense of humor that sits right behind the boom-bap beats that have made his music so popular.

Paul’s most recent collaborator is none other than his son, DJ Pforreal, a young performer who has obviously inherited his father’s sense of humor as well as a knack for beat creation and lyrical delivery. Their initial project together, Negroes on Ice, is a comedy / music album that blends music and storytelling into a “hilarious, head-nodding listening experience.” In an interview with the San Francisco Chronicle, Prince Paul explains that much of the album comes from stories that his son would tell him when he was a child. “He would come up with these outrageous things that I knew (weren’t) true, but I couldn’t get mad at him because they were just so dumb. And I knew he was lying, but he would just go on and on about it to where it would start to become entertaining.” When asked about the format of combining music and comedy together, Paul explained further. “If you’ve ever watched Adult Swim, it’s very bizarre and antic and makes you scratch your head, like, ‘What is this silly thing?’ But this is actually put into a story.”

/files/2013/05/PVP_6_Blog_2.jpg

I’m impressed with how Native Instruments have adapted Traktor’s design to take advantage of the touchscreen interface of the iPad, and they’ve also added in some new features that even go beyond what Traktor Pro can do on Mac OS/Windows. The best example of this is how the whole interface has been designed around the two parallel waveform displays, allowing you to control playback by directly touching the waveforms on the screen! This is a more useful approach than the typical “spinning platter”-style interface offered by many other iOS DJ apps, and controlling the tracks directly on the screen gives a much different feeling than DJing on a laptop and controlling your tracks with keyboard commands or a MIDI controller. Head over here to read my full overview of Traktor DJ. – Endo

Digital DJing w/ Traktor Pro

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside more traditional turntables and CDJs, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the Digital DJing with Traktor program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

What’s Included

• Digital DJing w/ Traktor Pro 2 Level 1: Introduction to DJing
• Digital DJing w/ Traktor Pro 2 Level 2: Phrase Mixing
• Digital DJing w/ Traktor Pro 2 Level 3: Beyond The Beatmatch

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college teachers were more like these two!” – Leandro Martinez, Chicago IL

More start dates and information about payment plans can be found here.

If you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/Endo_iPad_2_Blog_42.jpg

In the second installment of Clive Chin: The Lost Archives, we sit down with Clive and dub producer/engineer Billy “Prince Polo” Szeflinski of The Kennel recording studio in Bushwick, Brooklyn. The two of them talk about digitizing and cataloguing hundreds of hours of music recorded by Clive Chin and his late father Vincent “Randy” Chin from 1968 to 1978, the heyday of Jamaican reggae, ska, and dub music. Among the hundreds of tapes which lay undisturbed for nearly 40 years were recordings by many of Jamaica’s greatest stars including Max Romeo, Aston “Family Man” Barrett, Alton Ellis, Jimmy London, The Gladiators, The African Brothers, Bob Marley, Peter Tosh, Gregory Isaacs, Lord Creator, U-Roy, and Tommy McCook.

Clive Chin also talks about producing Augustus Pablo’s 1971 hit “Java” at Randy’s Studio in downtown Kingston, Jamaica. “Java” became an international sensation with its Eastern motif played on the melodica. The former classmates followed the hit single with a debut album from Augustus Pablo titled This Is Augustus Pablo in 1972.

Stay tuned for the third and final installment in which Prince Polo talks about remixing the recordings, as well as adding new vocals and instruments to the tracks, many of which were unfinished instrumentals.

/files/2013/05/050513_CliveChin_Ep02_blog_r1.jpg

This month’s installment of Dubspot Student Spotlight features an exciting array of up and coming DJ/producers and talented artists. Throughout this series, our goal is to shed some light on the exceptional DJs and producers emerging out of Dubspot’s front door. Our latest roundup includes: DJ Berlin, Jubilee, Lauren Plevy, Fame Cohen and Nick Bohme.

DJ Berlin // Turkey

DJ Berlin (Belgin Ugursu) was born and raised in the magnificent European city of Istanbul, Turkey. Exhibiting musical talent from an early age, Belgin spent much of her high school and university years performing live as both a guitarist and a vocalist. Eventually, these musical experiences bloomed and facilitated Belgin’s work as a composer of polyphonic ringtones for mobile phones. An interest in live looping and performance led Belgin to develop a live show, for which she has been dubbed a “one-woman orchestra.” Back in Turkey, DJ Berlin has since been featured within various TV shows and magazines.

In October 2012, DJ Berlin won second place in the Roland Corporation’s BOSS Loop Station World Championship Contest in Los Angeles. Belgin is currently enrolled in our DJ/Producer Program in New York City, and is developing a unique and exciting live looping performance – a show which she hopes to debut soon!

“I’ve learned so much in the DJ classes at Dubspot. I feel totally comfortable DJing. The teachers are the best DJs I have ever seen, and they teach you everything; you become very familiar with your DJ gear and equipment, and you’ll be able to solve problems and troubleshoot.  I’ve also learned some unique transition techniques. I feel like I am in good hands, and I totally get in to music so i can not stop it .” – DJ Berlin

Jubilee // Brooklyn via Miami

Brooklyn-via-Miami DJ/producer Jubilee (Jess Gentile) is one of many active figures in New York City’s ever-shifting electronic dance music landscape. Over the last few years, Jubilee has built a reputation for serving up her DJ sets at nightclubs and warehouse parties around the globe, and with a style defined as ranging from bass-heavy electro and sweaty tropical jams to UK grime, house, techno, party rap, r&b and more.

Jubilee has teamed up with Mixpak’s label boss, Dre Skull, with whom she has created the party: Mixpak Extended Play. In addition, Jess also hosts her own weekly radio shows: Brooklyn Radio’s “Fireworks” and Radio Lily’s Mixpak showcase.

As if she wasn’t busy enough, Jubilee has steadily increased her music production workload. Last year saw the release of her Pop It! EP on Mixpak, and she recently dropped a collaborative record with partner-in-crime Star Eyes on the Unknown to the Unknown imprint. Throw in remixes for Canblaster, Hydraulix, Creep and Zuzuka Poderosa, and it should be easy to understand why Jubilee is quickly becoming one of her scene’s go-to producers.

“Dubspot really helped me challenge myself and expand my music journey.” – Jubilee

Lauren Plevy // New York City

New York City-based artist Lauren Plevy recently completed both our DJ Extensive Program and Music Production with Ableton Live Program, all the while studying classical piano. Currently, Lauren is spending much of her creative time practicing piano and refining her productions; ultimately, her goal is “to make music that moves the soul.”

“I was immediately welcomed and accepted at Dubspot as a fellow artist, which gave me the confidence within months to start DJing in clubs and to begin producing my own music. I formed personal connections with all of my teachers and my classmates became like family.” – Lauren Plevy

Fame Cohen // New York City

Fame Cohen has recently emerged as one of New York City’s notable female DJ talents. While performing at venues ranging from NYC’s club scene to charity and private events, her sets span across the genres of house, electro, pop and hip hop. Fame likes to employ an open-format approach in her DJ sets, and by doing so she is able to read the crowd and deliver the sounds that keep everyone dancing.

In the winter of 2012, Fame was one of Polar Lounge’s resident DJs, whereupon she launched her own party: Club House Wednesdays. So far in 2013, she has held three residencies in NYC: Tammany Hall, Nouveau and The Dollhouse Urban Burlesque.

Fame’s talent and tenacity have led her to share the stage with a handful of music legends, such as The Roots’ Questlove and Pras from The Fugees. Fame Cohen is currently signed with the CEG talent agency.

“When I decided to DJ I was 26 years old, everyone said I was too old to start learning, so I signed up for the 3 month DJ course and by the time I completed the course I was spinning live in some of the city’s hottest clubs.  I can safely say Dubspot was the reason, I was amongst the DJs that truly knew Serato inside and out, I was ready for any obstacles the club presented. Years after I completed my course I still have a great relationship with my instructors at Dubspot and they are always there to help me out if any issues arise such as needing massive speakers for outdoor gigs lol. I am currently enrolled in the Music Production with Ableton Live. The instructors are extremely thorough and helpful. Dubspot was hands down my secret weapon for conquering the DJ scene in NYC.” – Fame Cohen

Nick Bohme // New York City

By the age of 16, New York City-based DJ/producer Nick Bohme was rocking parties with an array of musical styles ranging from techno and deep house to freestyle and hip hop. These days, Nick combines various influences to create his original music productions, and also to perform his DJ sets at nightclubs around the five boroughs, as well as for his own event: Midnight Disco Society.

Nick recently completed our Music Production with Ableton Live course, and can currently be found diligently developing and refining his sound – he likes to maintain a positive mindset and believes that “all good things will come to those who wait, but work hard for it.”

“There’s no other place on earth better for music production than Dubspot. Took me from A to Z in just 3 months. Went in knowing nothing, came out knowing everything (almost). An unbelievable experience I will never forget and hope to be back in the near future. – Nick Bohme

/files/2013/05/050613_StudentSpotlight_May2013_r1_Thumb.jpg

It was like a ghost had passed through me. It might not have been the holy ghost, but it was something of an awakening: I could feel the music and understand it as I never had before. It resonated physically in my body while fine details sparkled with full clarity. This wasn’t a revelation helped along by popular drugs. It was sound being presented as it’s meant to be heard: on a quality system, maintained and operated by skilled professionals, and played by a knowledgeable DJ.

Finding good sound can be a real challenge in New York. The city has a history of great-sounding rooms, from the Paradise Garage and Sound Factory to Twilo and Love. But compared to scenes in Europe, things can seem downright anemic. A partygoer is often stuck between an affordable night at a space with horrible sound, or getting stuck with a scary bill at a place that’s easy on the ears.

“NYC lacks proper clubs that have good sound systems and really care about the music. And most of them are reluctant to book acts that are doing something new or on the fringe, but don’t necessarily bring in the bucks,” says Brenmar, a Brooklyn-based DJ and producer.

Q from Sound Liberation Front shares a similar sentiment, so he built a mobile sound system called the Tower Of Sound to open people’s ears to quality sound without emptying their pockets. “I’m really keen on using it for block parties,” says Q,” because the heart of sound system culture is this idea of providing sound and entertainment for the community, so you don’t have to go to a club and pay a big cover and buy high priced drinks to enjoy music the way it’s supposed to be experienced.”

However, building a Tower is not financially viable for most. The $20,000 to $30,000 it took to build came from his personal savings, and recouping those costs was never a part of his plan.

The Tsunami Bass sound system is another local rig built as a love project. Its creators spent their life savings on it and are nowhere near making back their money through rentals and parties. But they’d like to, and they express frustration with promoters who spend thousands on big name headliners but won’t pay extra for high quality sound. “It’s [totally idiotic] how much most promoters pay for headliners but then skimp on sound,” fumes Shizaru Zoe.

New York is an expensive place. Cielo, which has a top-ranked system installed, struggles to balance a love for music with the need to appeal to the bottle service crowd that pervades their neighborhood. District 36, whose sound was put together by the late Gary Stuart (known for Love and Zouk’s sound), recently shuttered its doors.

Some people see a renewed value being placed on sound, despite these challenges. Praveen Sharma from Sepalcure notes that many venues opened over the past decade were primarily rock oriented and didn’t see the need to invest in good sound. Fortunately, he thinks that’s beginning to change. “The arrival of new spaces focused on sound, like Output and TBA, are forcing other Brooklyn venues to upgrade their own sound or face the harsh reality of losing their bookings,” says Sharma. In Queens, System Dance Club has some of the most highly regarded sound in New York, built by Systems by Shorty.

It should be noted, however, that it’s not just the gear that’s important, but also the people running it. “I’ve heard a $10,000 sound system sound amazing…and a $100,000 rig sound [terrible],” points out Morphous from Tsunami Bass. When running his system, he monitors and tweaks it all night.

DJs are accountable as well. “It’s just staggering how many DJs will drive the mixers into the red,” Funktion One’s Tony Andrews explained to Resident Advisor. “If you drive them into them red…How can I put this? The whole thing’s [ruined] before you even start!”

So how can we encourage more venues with a wider range of tastes and price points to step up their sound game? “The enthusiasts need to speak up,” says Tsunami’s Zoe (sound sytem for Reconstruvct, Dub War and others).  “Demand quality sound from promoters!”

Artists can also demand quality sound in their riders, adds Greenpoint Sound’s Jake Lewis. The best approach is to focus on details instead of brand.  For example, artists should require a system that covers a specific frequency and decibel range. They should also demand that the speakers be set up to play well with the room’s acoustics, and that a qualified engineer be present to operate the system.

“If it sounds really good and the show is really bumping,” says Lewis, “nobody’s looking at speaker labels.”

http://blog.dubspot.com/files/2013/05/towerthum1.png

Southern hip hop has long been one of my favorite styles of music and with the recent explosion in popularity of the new trap-influenced sounds I thought this might be a cool occasion to share some advanced techniques for programming these patterns in a more live style. In this tutorial we’re going to build a drum kit and Logic project which will help us to create these types of patterns using a MIDI controller instead of having to draw them in with a mouse.  To do this we’re going to build out some MIDI processing in Logic’s Environment to split apart the different notes we’re playing and apply different MIDI processing to them. We’re going to use an arpeggiator to play hi hat rolls at different speeds depending on which note we play, and do the same thing for snares. We’re also going to create a mapped multi-instrument that pulls multiple sound sources together into a single instrument we can play from one MIDI controller.

In this first video in the series we’ll look at building the kit in Ultrabeat using samples from the Lex Luger drum kit. We’ll also create the first hi hat arpeggiation using a transformer and arpeggiator in Logic’s environment. – Matt Shadetek

For further exploration of Logic check out Dubspot’s six-level Logic Pro Producer program, designed by Matt Shadetek:

Master Logic with our complete program of courses culminating in a four-track EP ready for release. In addition to achieving a complete overview of the composition process in Logic you’ll also earn the Dubspot Producer’s Certificate in Logic Pro. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, and a scored commercial to widen your scope.

What’s Included

• Logic Pro Level 1: Shake Hands with Logic
• Logic Pro Level 2: Completing Your First Track
• Logic Pro Level 3: Mixing Essentials
• Logic Pro Level 4: Sound Design & Instrumentation
• Logic Pro Level 5: Advanced Composition & Production
• Logic Pro Level 6: Taking Your EP Global

Music Production with Logic Pro classes just started; sign-up today!

The week of April 29th in NYC – Mon, Tue, Thur, Fri – 10:15-am-1:00pm
The week of April 21st DUBSPOT ONLINE

/files/2013/05/Logic_Trap_1_Blog_1.jpg

In this article, I will analyze the first movement of Beethoven’s Fifth Symphony and show you how his techniques can help you to become a stronger composer/programmer in whatever genre you wish to pursue. After that, I’ll use a dubstep piece to demonstrate the link between the past and present. If you’re not a dubstep fan, don’t worry; these concepts can be applied to any electronic dance music genre.

Beethoven’s Fifth Symphony is arguably the greatest symphony ever written, and certainly the most recognizable. Why is that? It’s got great hooks. Take a listen:

One common element of a great hook is the repetition of a rhythmic pattern. Below is a MIDI sequence showing the rhythm of Beethoven’s famous hook. In the first 40 seconds, the rhythm “da-da-da-dah” is repeated (by my count) 33 times. This repetition establishes the main hook.

da-da-da-dahhhhh!                                    da-da-da-dahhhhh!

(Note that the rhythm here bears some similarity to Loefah’s bass line on “Root,” as discussed in this previous Dubspot post.)

Now let’s take a look at the hook with the actual pitches. There are four notes all equal distance from each other. The first three notes are short, and all the same pitch. The fourth note is longer in duration and lower in pitch.

At 0:45 a second hook is introduced.

In this hook, all the notes are the same distance apart, but the pitches jump around more. It’s a lighter, more lyrical hook than the first. (I can imagine this one as some tweaky Absynth mono lead patch!) At 1:21, Beethoven repeats the first hook from the beginning.

Now, these two hooks, or as traditionalists would say, two themes, battle it out until the resolution at 6:37. The hooks are then reiterated one final time, and the piece is over.

This “battling it out” is known in more traditional terms as development of the themes. The first theme establishes a pattern, and varies it by changing the pitches used. The theme is then developed by repeating it in quick succession. At 0:06 and at 0:26 you’ll hear the first of many examples of this technique.

Another way the theme is developed is by extending it. For example, at 0:41 the theme is extended to add more notes. You’ll also hear different instruments play the same theme to create variation. And make sure to listen carefully for the “early bass drop” at 2:44!

After taking some time to listen to Beethoven, take the hook of your piece and start using these techniques. Repeat the hook, moving the notes around but keeping the rhythm the same. Have different synths play the same line, extend the hook with additional notes, or condense it by removing some. The trick is to create cohesion by keeping one aspect of the hook the same, while varying others aspects. This cohesion will draw people to your track and command repeated listening because there will be something to identify with.

What element of the hook gets varied and which stays the same is up to you. What makes your hook strong? Is it the rhythm? The notes? The sound? When you’ve decided, focus on that strength and create variations around it.

“12 Gauge” by NiT GriT

Now let’s take a look at the track “12 Gauge” by NiT GriT and see if we can find any of the same ideas at work.

The main hook is a triplet bass line pattern, which comes in at 0:47.

Once the hook is established, he develops it by adding to the melodic content of the bass line on each 4th repetition, as seen below.

At 1:14 the second hook, played on the organ, is brought in.

(I have left out the harmony on this example because we’re only concerned with is the rhythmic and melodic aspects of the hooks.)

As in Beethoven’s 5th, once the two hooks are established, a battle begins. The hooks bounce back and forth, intertwine, and use each other’s synthetic colors. Notice that the bass drop at 1:45 uses the rhythmic motive from the first hook. At 2:15 the first hook repeats, followed by a repetition of the second hook at 2:45. At 3:40, the development is complete. Finally, there’s a little reiteration and the song is over.

Keep Your Ears Open. The Answers Are Out There!

Even though these two pieces may sound as if they are from different planets, the underlying functions used to create both are similar. The repetition and variation of themes is an underlying thread that runs through much of what we refer to as Western classical music.

Use this knowledge to your advantage. Draw on the great wealth of music that has already been created, and listen with open ears. Regardless of style, you can discover elements, techniques, and structures to draw on and re-interpret when you create your next track.

I hope I have given you a glimpse into how you can look to past creations to inspire your future works. In upcoming posts, I will explore musical techniques from classical music other musical cultures and give examples of how to incorporate them into your compositions.

Related Dubspot Courses:

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want.

What’s Included:

• Music Foundations Level 1: Pads & Rhythmic Theory
• Music Foundations Level 2: Keys & Melodic Theory
• Music Foundations Level 3: Electronic Music Appreciation

This course exceeded my expectations. I went through everything I needed to have a solid knowledge of basic music theory.
- Jonathan Crespo, Miami

MF has been an amazing experience! I didn’t realize I was going to learn so much about electronic music history, something my generation missed.
- Yianno Koumi, United Kingdom

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

http://blog.dubspot.com/files/2013/05/Beethoven_5th_EDM_r1_thumb.jpg

In this video, James Bernard demonstrates the performance capabilities and creative possibilities of the innovative Tempest analog drum machine and synthesizer from Dave Smith Instruments and Roger Linn Design.

He first breaks down the drum machine and explains how it lets you create and manipulate beats and sounds in real time, demonstrating various ways you can utilize the well-thought-out pad bank for a dynamic live performance: the Tempest has sixteen pressure- and velocity-sensitive pads to which you can assign thirty-two unique drum sounds with different settings for each.

Bernard also explains the synthesis aspect and showcases some of the rich sounds you’ll find in the Tempest, essentially a six-voice analog synthesizer with four oscillators per voice, as well as many original effects devices. The Tempest is not your average drum machine or synthesizer: whether in the studio or in a live performance environment, the sonic possibilities with this machine are boundless.

Sound Design Komplete Program

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Sound Design classes just started, sign up today!

NYC COURSES
Evening Classes: April 30, 2013; Tuesdays and Thursdays, 6:15pm-9pm
Afternoon Classes: May 1, 2013; Wednesdays and Fridays, 3:15pm-6pm

ONLINE COURSES in session with seats still available. Register today!

Music Production w/ Ableton Live

NYC COURSES
Morning Classes: April 29, 2013; Mon, Tue, Thur, Fri, 10:15am-1pm
Evening Classes: May 1, 2013; Wednesdays and Fridays, 6:15pm-9pm
Weekend Classes: June 2, 2013; Sundays, 1:00-6pm

ONLINE COURSES in session with seats still available. Register today!

From the studio to the stage, learn to use Ableton Live to create, record, produce, and perform your music. Learn about linear and improvisational styles of producing electronic music as we help you master the software’s innovative interface.

After completing this program, you will leave with four completed tracks (an EP), a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

• Ableton Live Level 1: Shake Hands with Live
• Ableton Live Level 2: Completing Your First Track
• Ableton Live Level 3: Production Essentials
• Ableton Live Level 4: Sound Design & Instrumentation
• Ableton Live Level 5: Advanced Composition & Production
• Ableton Live Level 6: Taking Your EP Global

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

/files/2013/05/043113_tempest_blog.jpg