This useful tutorial covers essential advanced performance tips and tricks, from how to monitor a Remix Deck™ on headphones, to maintaining a sample’s original key, assigning effects, and reversing a sample. Additional shown techniques demonstrate how samples can be played live while maintaining correct phrasing by using Punch and Gate Override Mode. Remix Set™ taken from DEMI – No1Else
In the 74rd episode of Pensado’s Place, Dave and Herb are joined by producer, remixer, and ORGY frontman Jay Gordon! This week’s ITL is part 2 of our mic shootout/listening test with Telefunken’s RFT and Diamond series of microphones with Chris Baseford at the Atrium Studio.
In this clip from www.artistshousemusic.org – Jun Mhoon, an expert in digital music distribution, talks about the paradigm shift from the traditional music industry model to one driven by ad agencies, consumers, and, increasingly, artists. Mhoon also shares his views on how a new generation of entrepreneurs holds the key to the present and future music business.
http://soundsandgear.com/checking out a new urban guitar loop collection from Big Fish Audio called Urban Guitar collection. Chopping up the samples and making a beat in NI Maschine.
Kanye West has certainly given Anja Rubik’s magazine, 25, a big boost with this video short dedicated to eroticism. A friendship that began through chance meetings at fashion shows, the two began speaking about the current relationship between pornography and its lack of involvement with fashion. As Rubik puts it, “It’s funny. We talked about porn looks these days, and he agreed with me that there’s no porn out there that is beautiful aesthetically and integrates fashion to make a beautiful image.” The resulting video as you imagine is NOT SAFE FOR WORK. -Hypebeast
It’s not how Google would have wanted to end one of its best weeks ever.
On the last day of a stellar Google I/O conference, where the search and software giant unveiled a slew of new products including Android 4.1 Jelly Bean, rival Apple successfully blocked the sale of the Samsung Galaxy Nexus.
That’s the Jelly Bean-capable phone — currently, the only Jelly Bean-capable phone — which Google had been handing out all week to developers.
U.S. District Court Judge Lucy Koh, based in San Jose, just down the road from Apple’s Cupertino campus, granted Apple the preliminary injunction Friday afternoon in an ongoing patent dispute. It won’t go into effect until Apple posts a $96 million bond, meant to cover damages Samsung would have incurred from lost sales if Koh ultimately rules in favor of the Nexus.
But given how swiftly Apple moved to post the bond that blocked sales of another Samsung product, the Galaxy Tab, earlier this week — indeed, given how much of its considerable war chest Apple has been sinking into this Samsung patent battle — we don’t expect that $96 million hurdle to hold Apple up for long.
So if you were thinking about buying a Galaxy Nexus, currently available in Ice Cream Sandwich (Android 4.0) flavor, now would be the time.
The significance of the Galaxy Nexus cannot be overstated. It is the only Android phone on the market that runs pure Android; the phone carriers haven’t put any of their own layers of software (known as “skins”) over it. It was the first phone to launch with Ice Cream Sandwich, and the only one (alongside the Nexus S) that has announced a date for its official Jelly Bean update (mid-July.)
Not if Apple has its way, however. “It’s no coincidence that Samsung’s latest products look a lot like the iPhone and iPad, from the shape of the hardware to the user interface and even the packaging,” the Cupertino company said in a statement.
“As we’ve said many times before, we need to protect Apple’s intellectual property when companies steal our ideas.”
Koh’s injunction means she thinks there’s a strong chance Apple will be able to prove its patent-infringing case; it focuses on one patent in particular, covering voice search. That Siri vs. Google Voice Search battle seems about to become even more of a smackdown. -Mashable
The Federal Trade Commission has approved the $2.2 billion sale of EMI Music Publishing to an investor group led by Sony, the agency announced on Friday morning. With that clearance, the sale is expected to close later in the day.
The deal will create the world’s largest catalog of music-publishing rights, the lucrative copyrights that cover songwriting and composition. EMI’s catalog, considered a jewel of the industry, has some 1.3 million songs, including classics like “Over the Rainbow” and “New York, New York,” as well as more recent hits by Amy Winehouse, Alicia Keys and Kanye West.
The European Commission approved the deal with some concessions in April.
The financial arrangement behind the deal is complex, and does not give Sony complete control. Because of Sony’s joint venture with the Michael Jackson estate for its existing publishing arm, Sony/ATV, it must maintain EMI as a separate company. And while Sony/ATV will administer the EMI catalog, Sony and the Jackson estate will own only 38 percent of it.
The other investors are the sovereign wealth fund Mubadala of Abu Dhabi; Jynwel Capital of Hong Kong; Blackstone’s GSO Capital Partners; and the Hollywood mogul David Geffen.
Sony’s deal was one of two reached in November by Citigroup, which took possession of EMI in early 2011 after the previous owner, the private equity firm Terra Firma, defaulted on its debt.
In the parallel sale of EMI’s recorded-music division — which includes albums by the Beatles, the Beach Boys, Coldplay and hundreds of other acts — the Universal Music Group bid $1.9 billion. That deal is still under review in Europe and the United States; last week a Senate committee questioned executives on the effect the sale might have on the business.
While independent groups have opposed both EMI sales, saying that they would result in too much market concentration, the publishing deal was always seen as an easier sell to regulators, given Sony’s minority investment and the more fragmented nature of the publishing market.
Sony has said little about its plans for EMI. A confidential financial prospectus about the deal created in January suggested that Sony would lay off as much as 60 percent of EMI’s publishing staff. After The New York Times published a report on those plans, Martin N. Bandier, the chairman of Sony/ATV — and the former head of EMI publishing — told employees that staff reductions were planned but that numbers had not been decided.
We already got Kendrick kicking a freestyle with Tim Westwood earlier this week, but now we get the full interview as well. During their conversation, K.Dot spoke on his upcoming album good kid, m.A.A.d city, creative control, his childhood and more.
A family earns together—even covers of magazines. And for Billboard’s Urban Power List, Ronald “Slim” Williams and brother Bryan “Birdman” Williams are this year’s featured stars. The new issue is on stands now or you can order here.
Defining power and who possesses it is an ever-changing equation. It’s a challenge that Billboard editors revisit each year with the Power Players series, which includes Women in Music, Latin Power Players, this year’s inaugural Power 100 and the upcoming 40 Under 40. To that roster, add this issue’s inaugural Urban Power List, profiling the 25 biggest players in the industry. The unranked tally targets executives whose concentration is urban, not executives who have oversight of urban music but also substantial responsibilities with other genres. -Rap Radar
Lauryn lost one. Earlier this month, Ms. Hill was charged for tax evasion. And now TMZ is reporting that, she pleaded guilty to the crime. She is facing up to three years in prison, and was released on $150,000 bail. Her hearing will take place in November.
RZA will make his directorial debut with his martial arts flick, The Man With The Iron Fists starring Russell Crowe and Lucy Liu and here’s a sneak peek.
Not so fast, people. After announcing a few days ago that his album would be released on September 11th, Rocky retracted his statement. According to him, he was joking about the date specifically, but still says the album will be ready in September. In the same interview, Rocky also talks about who he enjoyed working with the most on his album, what A$AP Mob is up to, and what he’s listening to.
In this clip from www.artistshousemusic.org – Bruce Resnikoff is the President of Universal Music Enterprises, a subsidiary of Universal Music Group devoted to leveraging UMG’s catalog of recordings (the largest in the business) in a variety of markets, including traditional retail, direct TV sales, film and television licensing and specialty and nontraditional retail. Bruce Resnikoff is the President of Universal Music Enterprises, a subsidiary of Universal Music Group devoted to leveraging UMG’s catalog of recordings (the largest in the business) in a variety of markets, including traditional retail, direct TV sales, film and television licensing and specialty and nontraditional retail.
http://soundsandgear.com/synthmagic-digital-love-child-kontakt-library-review checking out the new Digital Love Child library from Synthmagic for Native Instruments Kontakt
This week’s ITL is a continuation of last week’s that talks all about vocal effects and various techniques! Check the second part after the jump!
So, mine is smaller than yours? Seems like an extraordinary utterance in the ego-heavy world of the major label. But faced with a seriously lopsided, post-merger marketshare, Universal Music Group now appears to be taking active steps to reduce its marketshare tallies – and win deal approval. Which could ultimately mean a shift away from counting indie recordings that it merely distributes, but doesn’t actually control.
None other than Warner Music Group ex-Chairman Edgar Bronfman Jr. started spilling the beans to Senators last week. We jumped back into the videotape and found this hint.
Universal has tried to portray its marketshare as lower than it actually is by excluding labels that it distributes. But that’s disingenuous. Owned and distributed marketshare is the metric Universal uses when talking to potential purchasers of its parent Vivendi shares, that’s the metric it uses when seeking better economics from the Copyright Royalty Board, and most importantly, that’s the metric is uses when negotiating the terms of its digital deals. When it comes to market power, especially in digital where marketshare includes all music under distribution, there is no distinction between music that is distributed and music that is owned.
This is suddently starting to bleed into other areas. The New York Post is now reporting that Universal held up a routinely-published – and widely-referenced – “Investing In Music” report from the IFPI because of its potentially-damaging marketshare counts. In fact, it appears the report could be delayed until after the European Union finishes reviewing the merger.
Universal… is being blamed for delaying the release of the marketshare report while it tries to gain regulatory approval for its proposed $1.9 billion takeover of EMI’s recorded music business…
Now, the question is whether Universal Music will take the extraordinary step of recategorizing its own marketshare tallies with Soundscan. Traditionally, Soundscan counts any signed or distributed by a label – even an indie label could take its ball to another distributor overnight. That’s a battle indies have been fighting unsuccessfully for years, but oddly, may suddenly be winning in the context of this massive merger.
Spotify and Yahoo! have cut a global content distribution and promotion deal that embeds Spotify’s on demand music service across the Yahoo! network of sites. It’s a major deal for both companies. Spotify gets access to Yahoo!’s 700 million unique users monthly. Yahoo! gets a a music service again, after gutting their own over the last several years.
Spotify continues to blow up.
Universal Music has just been handed an epic smackdown by the California judge presiding over a battle with producers of many hit Eminem recordings. In a decision that is sure to have tongues wagging throughout the music industry, the judge suggests that Universal has been “bamboozling” and attempting to “dupe” him into overlooking an issue that could mean substantial money for the plaintiffs in the case and perhaps musicians throughout the country.
Many observers have been closely watching this lawsuit brought by FBT Productions against Universal Music for many years. The case involves whether record labels must account for digital music downloads as “licenses” instead of “sales” — a significant difference when it comes to sharing revenue with song artists. This is the case cited byother musicians bringing similar claims.
Read the rest after the jump! -AllindstromMore
But as the case heads to trial a second time, after the 9th Circuit confirmed that digital music should be treated under the licensing provisions of a contract, another huge issue has come up — the way that a big music conglomerate like Universal apportions revenues between its foreign and domestic divisions before sharing the proceeds with revenue participants.
On Wednesday, in a potentially significant decision, FBT has been given the green light to amend its complaint to allege that Universal has breached an implied covenant of good faith and fair dealing as well as breaching a previous settlement agreement. Just as notable are the judge’s harsh words for Universal.
FBT now wishes to allege that not all money generated by foreign sales of Eminem songs returns to Aftermath, the Universal division that releases albums by Eminem. Instead, the plaintiffs say that under an inter-company agreement at Universal, 71 percent of the revenue is paid to Universal’s foreign affiliates while Aftermath only gets 29 percent of the revenue.
It’s Universal’s position that when it comes to splitting money with the artist, they only have to pay on the 29 percent, instead of the 100 percent that FBT wishes.
This is potentially huge now that consumers are buying songs on digital outlets like iTunes, and downloads are on the verge of being treated as “licenses” instead of “sales,” assuming that the decision in the 9th Circuit in the FBT case withstands further judicial review. Under the old system, artists got about 15 percent of revenue from sales. Now, the rate is primed to be bumped up to a 50 percent split on licenses, but if they’re only getting a split on a quarter of the overall pot, that’s a step backwards for the artists. FBT was incensed upon learning that it might actually owe Universal money.
So FBT attempted to amend their lawsuit to bring new claims, which prompted an objection from Universal.
Universal made a few arguments. The music giant said that FBT has known about these claims for years and should not be allowed to raise them now, just before the second trial. Even if FBT had realized what was going on recently, Universal said that they had still delayed in bringing the claims. Universal also asserted that the claims were futile, and lastly and most controversially, the company contended the issues FBT wished to raise were resolved on summary judgment in October 2011.
Judge Philip Gutierrez disagrees that the claims came late and says the merits will have to be dealt with later, but it’s that point about whether he previously ruled on this that has brought judicial fireworks.
Last autumn, Universal brought a motion for summary judgment on the phrase “our net receipts” in the agreement in question. In response, the judge ruled that “our” referred to Aftermath. So Universal says that the judge’s ruling means that FBT has to live with what Aftermath gets (29 percent) instead of what Universal gets (100 percent).
“The Court disagrees,” writes judge Gutierrez in his opinion on Wednesday.
He says that the ruling mostly referred to “net receipts” and whether Universal could deduct distribution costs. He says that he was not discussing the revenue sharing between Aftermath and foreign affiliates at all.
Both FBT and the judge were both slow about what Universal now says it meant. And the judge says that it’s hardly FBT’s fault. “Defendants contend FBT was being ‘coy,’ and actually knew precisely the issue Defendants were raising,” he writes. “The Court finds it hard to swallow the assertion that in this hotly contested case FBT would have played possum on Defendants’ summary judgment motion, just so FBT could attempt to raise this issue later in a supplemental complaint.”
Then, the judge opens up fire on Universal Music. Here’s the key paragraph in full:
“Furthermore, the Court is deeply troubled by Defendants’ argument. While it is hard to see what FBT could gain by feigning ignorance, it is now quite apparent what Defendants could hope to gain by bamboozling the Court and Plaintiffs on this issue. Defendants’ current stance makes it appear as though Defendants carefully inserted the issue into the motion for summary judgment before they had notified FBT or the Court of what percentage of the revenues from foreign sales of permanent downloads and mastertones would be paid to FBT. An attempt to dupe the Court into a premature ruling will not serve as the basis to deny FBT an opportunity to challenge Defendants’ accounting practices.”
And so, the judge is allowing FBT to go forward with their new claims that Universal isn’t dealing fairly by keeping revenues oversees.
We’ve reached out to Universal and if we get comment, we’ll update.
Richard Busch, the attorney from King & Ballow representing FBT, says he can’t comment on pending legal matters except to say, “This is an enormous victory for our clients.”
O say can you see? Yesterday, Lana Del Rey premiered her new JFK-inspired video with A$AP Rocky as the POTUS. In an interview with VICE’s Noisey arm, he discusses his role and how the video came about.
I love it, yeah. I think you make a great JFK. How did it come about?
Lana wrote the treatment with me in mind. She wanted me to be the lead guy. Shit is like, everybody knows we got a thing for each other and we wanted to show that on screen. She’s a genius like…. nigga look at this bitch, I wanna fuck the shit outta her. Look at her she’s gotta be in her late 30s and shit… Err, Hello?
Haha. You’re not talking about Lana Del Rey there I take it…
Hahahaha nah, nah, nah. Nah, I was caught in the moment man; you know me Andy, cut it out man.
Yeah I was like, “Wow, this is very forward of him.”
Nah she wanted me to be the main guy and she wrote the treatment herself and came up with all the ideas. She came you with all that shit herself. And this guy Andy, nah, Anthony, what’s this nigga’s name… Anthony Mandler shot it with some old cameras and shit to get the 1960s look and they had a set of extras. They had so many extras there, Interscope paid so much fucking money for this video that it’s not even true.
I tell you man, on set, I never did any kind of shit like this before with this much people involved and nothing like that so when I came on set with everybody dressed like they in the 60s and shit I really thought I was in the 60s. I’m serious. All joking aside – it was so realistic, I’m like DAMN.
And so I got in character like, “Fuck that like, I’m gonna be the black, trill JFK.” But basically I was just me, I don’t really think I did JFK no justice, (laughs). I was just me and it was like, “what if JFK met A$AP Rocky?” And that’s what you got. She looked like Jackie O, and I was kissing the shit out of her all day and shit. -Rap Radar
Billionaire Kim Dotcom (the founder of Megaupload) is ready to launch his next venture, all while facing charges in the US for his last. This time he looks to launch a music streaming website. No real word on what will happen with it, but Kim Dotcom has become a hilarious guy to follow. The man changed his last name to Dotcom. I think we should probably be paying attention. -Allindstrom
Count and Moonie appeared on Good*Fella Media’s radio show. They spoke on keeping close ties with Chief Keef and rising talent from Chicago, their city’s ongoing corruption and their gangsta sound.
More good news for Spotify. Business Insider reports that Spotify has become the second biggest source of revenue for record labels, trailing only iTunes. Admittedly, the gap between iTunes and Spotify is large, but early investor Sean Parker believes that very soon, Spotify might overtake iTunes, saying:
“If we [Spotify] continue growing at our current rate in terms of subscriptions and downloads, we’ll overtake iTunes in terms of contributions to the recorded music business in under two years.”
Even though it’s the new kid on the block, Spotify is making a lot of moves towards cutting into iTunes’s market share.
The Question is very dope to me because it’s simple yet profound, and I think that’s something very important to do. Because you know you can do a lot of stuff like cadences and wild shit like that and crazy rhymes and bars and concept rhyming and wordplay and stuff. But with that I kinda step back and just only said a few words, but the words I said were profound and meant something -Rap Radar