Unify Your Instruments and Effects with KORE 2!Native Instruments Kore 2 will change the way you produce and perform. This universal sound platform integrates all your software instruments and effects into a single, unified interface, and now it’s even better! Kore 2’s hardware controller now includes a streamlined navigation section, smaller footprint, and a handy USB cable hook, and the software includes several new effects. Kore 2 gives you total control of your sound and instant, hands-on access with a real analog feel. Using instruments and effects is easier than ever before with Kore 2.Native Instruments Kore 2 at a Glance:
- Production-ready sound library
- Find sounds in an instant
- Layers and splits offer new potential
- Sound Morphing
- The ideal companion to Komplete
- Kore is a plug-in, and Kore is a host
- Hardware controller gives you hands-on access to your sounds
- Advanced live performance features
- New effects
- Step Sequencer and Arpeggiator
A great piece of equipment to add to any studio It can do alot to enhance your work process and creativity and simplify and tie together common tasks.
No problem Toontrack’s dfh EZdrummer rhythm software is an incredibly intuitive and easy to use way to get backing rhythm tracks into your songs. Whether you need drum tracks to back your guitar-based recordings or some super-realistic rhythm for MIDI music creation, EZdrummer’s samples are extremely authentic sounding. The samples in this library were recorded at Avatar Studios in New York by exceptional drummers and producers. And EZdrummer sports the same extensive layer depth as dfh superior.Toontrack dfh EZdrummer at a Glance:Compact, affordable, easy to handle multi-microphone drum samplerExtensive drag and drop midi-library featuring 8000+ midifilesMulti-microphone Drum SamplerToontrack dfh EZdrummer is a multi-microphone drum sampler designed for musicians and producers in need of a compact, affordable, easy to handle plug-in without compromising sound quality or control. The EZ Drummer user interface is extremely easy to navigate through. If you want to hear what a drum or cymbal will sound like, simply click on it. You can load pre-chosen kits or mix and match drums from other kits. With thousands of drum patterns to choose from and drag and drop functionality, EZdrummer is perfect for musicians who want to concern themselves with making music and not programming MIDI. All samples included in EZdrummer are 16-bit/44.1kHz and the internal mixer allows the user individual control over each drum.Extensive drag and Drop MIDI LibraryThe visualized drums in the interface combines auditioning of sounds and drumkit construction. The extensive drag and drop midi-library (featuring 8000+ midifiles) enables users to create a great drumtrack in just a few clicks. For more advanced handling, users can control microphone bleeding and levels between drums using the internal mixer. The mixer also allows stereo and multitrack routing into the host through one single plug-in, and thanks to the second generation Toontrack Percussive Compression (TPC), system requirements are kept to a minimum. Musictechradar rates this piece of software a great addition to any studio or home recording setup.
I felt like writing about talent agencies and maybe this article will help some up and coming band and if it helps one band,then it was worth adding it to this site.While there are several music schools that teach up-and-coming musicians how to play their instrument, there are very few that teach them the business-side of the industry. As a result, most independent musicians use national or major-label artists as their blueprint for success.While some valuable lessons can be learned using national artists as a guide, there are still many questions that go unanswered. For that reason, we will focus on what independent musicians can expect when working with Booking Agents.Since booking agents work on a commission basis, they generally only work with touring artists and bands. Agents are paid a percentage (Usually 10 to 20 percent) of the money paid to bands for their live shows, depending on your level of income and what the agent is willing to take on, but not for merchandise or CD sales. Be wary of any agent who asks artists to pay them for booking services up front, or asks for a percentage of CD and/or merch salesthat’s not the industry standard.Most independent artists start out booking their own shows out of necessity. Most likely, you got your debut show through someone you, or a member of your band knew. After that, you probably asked people you know for the name of the person who books the shows at local clubs that were right for your band. At first, booking shows isn’t all that hard (due in large part to the personal relationships you already have in your hometown). You know what clubs are right for you based on your firsthand knowledge of the market.But if you’re doing any touring, you have already realized booking out-of-town shows is much more difficult. First off, you only know the names of the biggest clubs in town, and they aren’t booking out-of-town bands for their first show in that market. So how are you supposed to know the names of the clubs that are right for you when you’re not a local? You can do some research on the Internet, or by asking friends familiar with that market, but that takes time and patiencetwo things most independent musicians don’t have in abundance.Luckily, there are music guides out there that can help you in this regard with detailed information on each one: the name of the person who books the shows, that person’s direct phone number, email address, best day and time to call for booking, style of music booked, capacity, age limitations (especially important for bands with underage crowds), average age of the crowd and the days they have live music.So start calling clubs in a market nearby that you can tour to on a regular basis. At first you play as often as you can while you build up a fan base in that market. As you develop, your fan base grows and it becomes easier to get in touch with the bigger clubs because the person who books their shows has heard of your band. It takes a while, but soon you’ll be playing at some of the premier clubs in that market too.Now that you’ve established yourself in a second market, you start the process again in the next town. The idea is to develop your fan base in markets you can get back to on a regular basis, which allows you to maintain and even grow that base of fans.Once you start touring regularly, you quickly realize you no longer have the time to book, promote and play shows, it’s time to look for a booking agent.Established booking agents have several advantages over bands that handle their own booking. First and foremost, they know what they’re doing. They aren’t learning as they go like bands that represent themselves. Think about it like playing your instrument; when you first started you were no virtuoso, but as you continued, you learned the “tricks of the trade” and you got better as you got more experienced. Same thing goes for a booking agent.Another advantage established agents have over bands that do their own booking is they already have working relationships with the people who book the clubs. This is a huge advantage (provided the agent isn’t un-reputable) because the agent doesn’t have to start from scratch for each club or venue they call. The agent’s previous work with the promoter or talent buyer is what opens the door for your band.Club talent buyers know agents work on a percentage basis and aren’t going to represent an unsuccessful artist. While having a booking agent is not a defining characteristic of a successful band, it certainly lends a degree of status to your band. Bands that don’t draw or lack potential are rarely represented by an agent and clubs know this.Most booking agents represent multiple bands which is often a huge bartering chip when an agent is trying to get a new client gigs. Often an agent will use booking a show with a popular band on their roster as a carrot to get the club to book a new, or less-popular band that’s just starting out. Club talent buyers know if they give your band a gig, the agent is more likely to book that really popular band at their club, too.Since an agent may represent several bands the club wants to book, it’s also much easier for a booking agent to get the club talent buyer on the phone than a band member. Club talent buyers have hundreds of bands calling for a limited number of shows, which is why they are usually hard to reach. So to a club talent buyer, all bands they don’t know personally all lumped together and usually ignored until the artist makes contact with them. Most bands who book their own shows have to talk to the talent buyer on the phone several times before landing a gig because they have to build up that personal relationship themselves, and that takes time.Although booking agents work for the band, early on it’s the agent’s reputation that opens doors for a band. For that reason, a band’s actions at a show can have an effect on the agent and the other artists the agent represents, so the tide turns to an extent and the band will in effect work for the agent performing and acting professional at all shows they are booked in or they will most likely be dropped from the roster and that is almost more detrimental than being dropped from a label. When a band trashes their dressing room, harasses the wait staff, blows off the show, badmouths the sound man, etcit makes it that much harder for the agent to book the other bands they represent at that club as well and if you are dropped for any of those reasons, good luck on getting anyone in the industry to work with you at any level.So if you’re touring on a regular basis and the time you have for booking shows isn’t enough to get the job done, an agent may be the solution to your problem. Make sure you are comfortable with the agent you select and be sure to communicate your band’s goals with the agent as well. An agent may take a different approach or route you in certain regions if they know what goals and direction the band has.If you’re just starting out, or haven’t done much road work, you may want to wait until you have four or more markets that you have a decent following in before looking for representation. Use your music guide to identify out-of-town clubs that make sense for your band, then start building relationships with those people until you have a large established fan base in at least four or more markets and you have a complete marketable product and image (Professionally Recorded CD, Merch and Promo material) that the agent will be willing to buy into and they know you are ready and when we say ready we mean “do not have any tie-downs that will keep you from being able to tour such as Car payment, House payments or really any re-occurring bills” that need attention because you will be on the road supporting your album and making just enough money to get from show to show when starting out.
The OASYS has everything you’d expect from a traditional keyboard workstation - phenomenal onboard effects, 16-track MIDI sequencing, plus all of the synthesis stuff I mentioned above. But what really makes it a “Studio” rather than just a “workstation” is a full function 16-track hard disk recorder, seamlessly integrated into the sequencing system. It even has high quality, studio grade phantom powered mic preamps! The onboard effects can be applied to audio as well as the internal MIDI tracks, and there’s a CD-R/RW drive in the machine, so you can truly compose, record, edit, mix and burn a finished CD.I could go on and on about all the things the OASYS can do,but I wont. My overall opinion is the Korg OASYS is a complete studio in one piece of equipment. Add a mic and some monitors and you are up and running and ready to create and record. Its scary
I started this site to share some of my vast knowledge of music recording equipment and music recording techniques. I am a novice at promoting websites, so I have had to learn on the fly about all the crap one has to endure to promote their websites. It seems most of the big search engines and sites like blogger,yahoo,wikipedia,youtube all use no follow tags. This means that they want you to use there search engines and read there blogs but they dont want your site to receive credit for doing so.The big sites sent out links and memos to try and get all the big sites to comply and the little sites as well. And like monkeys see monkey do they all did it. I will not read a single blog that uses no follow and I definately will never link to one. There is always an alternate site that does or provides the same entertainment or subject matter content, use the alternate sites,this helps them grow and knocks the big sites down a notch. The big sites dont want the little sites to ever get as big as they are, or even give them so much as a little link. This is another way of controlling and holding down the little sites in the world who want to get recognized. If you are not sure if a site uses no follow tags then view the source code on the site and search for no follow on the source code. If it uses no follow then boycott the site, never return and if you have any links to it then remove them. If this message could reach the masses then it would do some serious damage to the rankings and ad dollars going to these big sites and even some of the small sites that support this B.S. And dont give me that it controls comment spam crap. Because the trade off isnt worth it. Forward this post to anyone and everyone you know lets get this boycott going. Boycott no follow sites
Is this a payperview heavy weight title fight or what. I have been in the recording/music business for many years. Pro tools made a huge name for itself in the 90’s and it has carried thru to today. Many artists only know the word pro tools because its a word of mouth thing. But many studio’s offer nuendo as well, most of the major label level studio’s use nuendo. Pro tools and nuendo do the same thing but nuendo does a whole lot more without all the hardware. I have used both and I would opt for nuendo over pro tools any day. But sometimes artists will come in the studio and the first thing out there mouth is you use pro tools dont you? I used to say I can if you like and explain a little about nuendo as well to the artists, but usually it was just a waste of my time. Pro tools hd top of the line with 2 sound cards will hit you in the wallet for a cool $13,999. Nuendo can do everything that Pro tools can do and even more. It will hit you in the wallet for a mere $1799.00 . Nuendo does not come with sound card/ interface. But with the 12,000 you saved you can get a brand mac pro and a sound card and get a good used car to go with it. Its a no brainer. Nuendo even with the cheaper price smash’s pro tools like a bug.
Microphones are components in virtually all audio systems.There are many types of microphones,from usb to lapel mics for seminars and computer,telephone,boom etc,etc.The reason for this diversity is that while all microphones perform the same basic function,they are adapted to a wide variety of different enviroments and uses.That said, all microphones have one thing in common: microphones convert a sound wave into an electrical signal in which the voltage and current are proportional to the original sound.To perform this task microphones use a thin membrane, known as a diaphragm, which mimics the function of the human ear.When sound waves strike a microphone’s diaphragm, they cause it to move within an electro-magnetic field, which, in turn, creates a variance in an electrical current. This signal is then transmitted to output devices, which reproduce the original sound wave and reinforce it. Typical output devices for microphones are power amplifiers, sound mixers, PA systems and audio recorders.The internal configurations of microphones used for 99% of all audio systems have one of three basic designs, which are often used to organize microphones into distinct categories. These three categories are dynamic microphones, condenser microphones, and ribbon microphones.The link between the microphone’s diaphragm and the output device can be either wired or wireless. Wired microphones are physically connected by a cable to the output device. Wireless microphones, which are more portable, must come with both a transmitter (either FM or InfraRed) and a compatible receiver.Finally, to fully understand how microphones work, and the differences among them, it’s important to consider the way different microphones gather sound from the ambient environment. Microphones can be classified by three types of pickup patterns: unidirectional or cardioid, bidirectional or figure 8, omnidirectional or boundary and switchable.Each of these features has its own strengths and weaknesses.Choosing among alternative configurations - say a wired dynamic cardioid microphone, a wireless ribbon omnidirectional microphone or a wireless condenser unidirectional microphone - is the key to making your audio system perform the way you want.The pick-up pattern of microphones including unidirectional, bidirectional and omnidirectional:
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