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.

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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.

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Max for Live is a programming environment that allows developers to create instruments, effects, and all sorts of utilities for Ableton Live. Originally introduced as an add-on for Live 8, Max for Live is now included with Live 9 Suite. Since I’ve been performing a lot lately, I’ve been downloading various Max for Live devices to enhance my shows with visuals. Here’s are a few that I’ve found recently. They’re great, easy to use, and free!

Ganz Graf Mod X

Ganz Graf Mod X, developed by Synnack, is a simple reactive video generator that works within Live. It reacts to audio and can be put on any track, though the Master track is best. With just a few parameters, you can set and manipulate shapes, alter their color and position, and determine how much they move in space. I would not say it replaces a VJ, but if you don’t have one, it’s a quick and easy way to enhance your live performance. Invest three minutes playing with Ganz Graf Mod X, and you’ll wow people at your next local show.

VIZZable 2

VIZZable 2 is a modular VJ suite containing over 20 devices for real-time manipulation of live or prerecorded video. Multiple layers of video can be mixed and processed with effects to create rich collages. I particularly enjoy the dirtyfeedr and fisheye modules. VIZZable 2 has been rebuilt from the ground up so the devices run on your computer’s GPU (which is optimized for graphics) instead of the CPU, resulting in much faster performance.

Zeal did a great job on this suite. Don’t underestimate it–it’s probably powerful enough to create an entire music video.  It must have taken an enormous amount of work to complete VIZZable 2, so if you enjoy it, make a donation!

MotionMod 1.0

MotionMod 1.0, also developed by Zeal, is a motion detector device. It’s driven by your webcam and can be mapped to any parameter in your Live Set. This can be used in many situations. For example, let’s say you hop around a lot during your set. With MotionMod, your hops and head bobs can make changes to an effect. It has an adjustable threshold and a few other parameters that allow you to determine if the changes are subtle or extreme.

Dubspot guest blogger Josh Spoon is an Ableton Live veteran, blogger, drummer, music producer and live performer. Josh has a residency with the eclectic Los Angeles electronic music collective Space Circus, performing every first Wednesday of the month, and just released his first concept EP of grooving low-end originals entitled Man on Mars.

Music Production w/ Ableton Live

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.

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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.

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The Dave Smith Instruments Tempest is an analog drum machine that was created by two of the top minds in the industry: Dave Smith and Roger Linn. Together they have developed an instrument that takes the traditional drum machine into new realms of sound and control. While exploring the instrument in our studios, Dubspot Ableton instructor DJ Kiva recorded this tutorial in which he syncs the Tempest with Ableton Live and records the Tempest’s multiple outputs as individual audio tracks in Ableton. To finish off the session Kiva plays back the recorded parts and adds his own custom delays through send channels in Ableton Live.

Music Production w/ Ableton Live

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.

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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.

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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.

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Dubspot’s Shiftee and his tiny friend Lil Shiftee break down the Traktor Kontrol Z2 performance routine for Native Instruments and take us through the features of the Z2 mixer and some of the functions that were used in his routine. Shiftee offers an overview of the Z2 mixer including the MIDI control features which offers intuitive and tactile surfaces where he can trigger samples in the the Remix Decks, hit cue points, and access effects comfortably. Big Shiftee is also using Maschine to control the same Remix Decks and cue points set up on the Z2.

Big Shiftee is a generous man. He’s made his Maschine MKII mapping available for free download on Facebook.

We sat down with Shiftee for a chat on his process in putting together the routine and how he used the Z2 mixer and Maschine.

So, how did you approach this new routine?

What are your favorite functions of the Z2 mixer?

In the video, it seems like you are hitting pads which trigger samples via Maschine while filtering with a knob on the mixer, can you tell us how you have mapped the mixer? Maschine?

For the Maschine, I custom mapped two main layouts for different sections of the routine. Sometimes I’m controlling samples, sometimes cue points, and sometimes both at the same damn time. Shout out to Future. I just used the default mapping for the mixer. In the part you’re describing, I’m actually using one of Traktor’s new Macro FX (“Event Horizon”) to achieve a robust alteration of the sound via a single knob. Meanwhile, I’m triggering cue points AND samples with my left hand via one of my custom mappings.  The color coding options on the new Maschine are very helpful.

Do you plan on incorporating the Z2 in your solo sets as well as Mostly Robot?

Any new projects you want to tell us about?

I just had a single and mix come out with Badman Shark on Slit Jockey Records.  The single is “EKG Riddim” and the mix is called Time To Die. Evil grime vibes. Then I have a collab EP dropping in January with Rx on the most patriotic label in the universe Hot Mom USA. Meanwhile remixes coming soon for Seclusiasis and Chaungo Records. Also be on the lookout for Vol. 2 of my mixtape project with Elijah (Butterz) called UK Meets USA (listen to Vol. 1 here), which we will be touring in 2013.  All about that GRIME.

What were your top 3 favorite shows you played this year?

Being in a band is way different than doing solo gigs.  People are counting on you, and seemingly simple things like soundcheck become way more involved.  I also learned a lot about Justin Bieber from watching the movie Never Say Never on one of my many flights.

At the end, I’m using 100% samples. The Z2 and the Maschine are controlling the same sounds, but on Maschine I can change the playback mode between “latch” and “gate” via my custom mapping. My left hand is playing drum samples while my right hand plays musical notes. Plus, it looks cooler to move back and forth. Plus plus, I need exercise.

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.

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Introducing Our New Ableton Live Program w/ Live 9

Music technology moves pretty fast, and here at Dubspot we’re committed to bringing you the best possible electronic music education and incorporating the latest cutting-edge technologies. As part of this commitment, it is with great pleasure that we are now announcing our all-new Ableton Live program at Dubspot, completely updated for Live 9!

Ableton has been hard at work over the past four years building upon and expanding all the great things that you have come to know and love about Live, and Dubspot has built a new program to help you learn it. We have taken the great feedback from our community to improve our Ableton program and make it even better.

Live 9 brings many great new things to the table such as Session Automation, Max for Live (standard in Suite), a new and improved Browser, Audio to MIDI conversion, updates to many of Live’s built-in Devices and the addition of some new ones, new editing functions for MIDI and audio, 64-bit support, SoundCloud support and more. All of these new features and functions are covered in our new program along with many new tools and technologies to help you thru your musical journey in our six-level 48-class course.

New Courses Start June 1 at Dubspot NYC

Our new Live 9 curriculum will go into effect at our physical school in New York City starting on June 1st and will be introduced online shortly thereafter. Some of the major highlights of this new program include:

•    All students will now be provided with a custom audio library courtesy of our new partner Loopmasters. Students will also be provided with a discount for purchases from the Loopmasters catalog and their sister site Plug-in Boutique. The pack is loaded with loops in a variety of current electronic music styles, one-shot drum samples, and construction kits. The purpose is to provide you with all the materials that you may need during your studies.

•    Project files provided for every class that you take in the program. We all lead busy lives and sometimes details escape us. Now, you will be able to see and explore what the ultimate goal of each class should be.

We hope that you are all as excited about this as we are, and that the next steps on your electronic musical journey will include some time with Dubspot.

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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.”

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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.

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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.

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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.”

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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

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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.

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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.

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On Tuesday, May 7th, from 9:15 to 11 p.m., Dubspot instructor and performing artist Dan Freeman will host the Dubspot Ableton User Group at our New York City studios. For this session we are proud to present Los Angeles-based recording artist, violinist, performer, instructor and technology guru Laura Escudé (a.k.a. Alluxe). Laura brings a depth of knowledge that few others Ableton experts can match. Her work with artists such as Kanye West, Jay Z, M83, Silversun Pickups, Garbage and Drake has given her an incredible breadth of experience as well. For this event, Laura will discuss live performance techniques and the production of her upcoming EP. She’ll also be showing a preview of her upcoming music video, recently shot in Prague.

To attend, please RSVP on Facebook and arrive early for sign-in. This FREE event is open to the public and space is very limited.

Dubspot Ableton User Group
Tuesday, May 7th, 9:15-11:00 p.m.

Hosted by instructor Dan Freeman
with special guest instructor Laura Escudé

Laura Escudé is an in-demand music producer, DJ, violinist, Ableton Certified Trainer and music technology specialist. Ms. Escudé (a.k.a. Alluxe) is a versatile musician who composes and programs music, performing tracks using innovative MIDI controllers—which is complimented by her extensive acoustic and electric violin background. Her 2011 and 2012 highlights include playing violin on Kanye and Jay-Z’s “Watch The Throne” album, as well as touring doing vocal effects and music programming for the U.S. and European tours. She recorded and composed violin for the intro of Kanye West’s “Dark Fantasy” tour and traveled all over the world as his vocal effects engineer. She played violin on Hit-Boy’s (Watch the Throne producer) mixtape “HitStory.” She designed the music technology and programmed shows for Cirque du Soleil, Drake, Bon Iver, Silversun Pickups, Garbage, Childish Gambino, M83, Herbie Hancock, Niyaz and many more. She has composed music for several Visa commercials, performed violin on Dancing With the Stars, at The Do Lab’s LA music showcase, and won Runner Up prize for best DJ mix for the Lightning in a Bottle Festival.

“In the past decade the laptop has revolutionized the way music is performed and produced, and Ableton has been at the forefront of making the laptop a powerful production and performance tool. The NYC Ableton User Group is a place to learn about this remarkable software and see how guest artists and other attendees are putting it to use.” - Dan Freeman

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.

Start Dates and Times for Music Production w/ 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

“I summarize my experience at Dubspot as an adventure! I learned the equipment and the mentality. Ableton is now my playground, and I owe it all to Dubspot.” – Peter Ardent

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.

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In this tutorial, Dubspot instructor and Ableton Certified Trainer Michael Hatsis a.k.a. !banginclude shows how to make dance music leads in Ableton Live 9 using Live’s built-in synth instrument Analog. These kinds of synth leads are useful for many different types of club music from dutch house and moombahton to trap and beyond. In a step-by-step process, Hatsis explains and demonstrates how to shape and transform the basic preset/default sound of Analog into an effective and customizable dance music lead that you can control and tweak to your liking.

Michael Hatsis is a Brooklyn-based electronic music producer, Ableton Live Trainer, and Dubspot instructor.

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

“So far the experience through Dubspot is incredible, and I can’t wait to go through the next levels. It’s just getting better each week, and I can not wait to start putting an EP together, not just being able to put a successful track together!” - Dan Carter, 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.

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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.

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