VJ Heaven

More info – bit.ly In this tutorial, Dubspot Instructor and Ableton Live Curriculum Designer Professor Nalepa explains and demonstrates a great technique to create real-time stuttering gated vocal effects where you can adjust the rate of the gate on the fly. You can use this live on vocals or other instruments, but it also works great in the studio. To accomplish this, you utilize all three types of Ableton’s built-in tools: Instrument, Audio Effect and MIDI Effect.

Hello all. I wanted to show how easy it is to take clips from Live and drop them into Sampler for further manipulation. So, in this example I start with a simple vocal phrase and create a kick drum sound. Obviously this can be used for more then just drum sounds, but it is a great starting point if you are just getting into Sampler. These ideas and many more are covered in great depth in my course Advanced Music Production with Ableton Live at Berkleemusic.com. For more info and to download the project I used here, check out my blog: loudonstearns.berkleemusicblogs.com

luminary – dark eyesVocal Ashley Tomberlin mcz2 mcz3

www.primeloops.com • DOWNLOAD FREE ABLETON LIVE TUTORIALS! • We will be updating our Music Production Tips & Tricks channel with new Tutorial frequently, so make sure to subscribe now! Ableton Live Tutorial – The Reverse Vocal Effect In this tutorial we show you how pull of a neat vocal technique used in the industry time and time again – and it sounds great! This can be used in many genres of music, maybe as a lead into the chorus, or in a breakdown, and is also used in movie soundtracks…nice! Stay Creative.

MY 2ND UPLOAD!!! My original song with VJ visuals. I am a singer/song writer – FEEDBACK gratefully received…ENJOY! )… Got a taste for this now!!! Got 30ish songs in total… lots of work ahead… Feel free to messageme with any questions and more. Happy listening guys!!

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Digital music is of course created the moment you commit a recording to a file, so it’s fitting to me that we can take musical inspiration from acoustic sources as well as electronic. And one of the album releases I’m most thrilled by this summer is the collaboration between Björk and the eclectic band Dirty Projectors, whose African rhythm-influenced “Bitte Orca” was to me one of the fresher sounds in recent years.

For the digital-only release “Mount Wittenberg Orca,” the coupling return to bare, stripped-down vocals, with harmonies at once folk-influenced and mysterious. Buzz about this new direction started just as the grouping performed live at the diminutive Housing Works Cafe here in Manhattan. (I unfortunately was out of town; see the video after the break below.) There was just something viscerally wonderful about what the ensemble made, something very different from either Dirty Projectors or Björk; those familiar personalities melted away into something new.

The inspiration from the track comes from Dirty Projectors’ Amber watching a school of whales from Mount Wittenberg, outside San Francisco. Accordingly, proceeds benefit the planet, by way of the National Geographic Society. Donations of US$7 and up gets you 320kbps or Apple Lossless downloads and full liner notes.

Here’s the mountain geographic area in question, as a visual aid:

My only regret is that the mountain-inspired work is fit into a hill-sized EP; I hope they release more tracks.

You can have a free taste as a stream below via Soundcloud.

Mount Wittenberg Orca [Official site, download]

I’ve been meaning to point to the release for a couple of weeks, but this comes as I read some reflections by my friend (and very electronic artist) Ezekiel Honig.

http://www.ezekielhonig.com/words.php

At a time when half my friends talk about the demise of the conventional record release (including some with actual resumes in the record business, as opposed to my never-ending study of the arcane), there are reasons to see something else rising from the ashes. A lot of what Zeke is describing fits the mountain EP here, from his ideas about the non-narrative “accumulation of moments” to the meaning of the album. (“A container is needed to define the extent of one’s work, to give it both breathing room and a place for that air to stop,” Zeke muses.) A lot of wisdom about everything from recording fidelity to the album as a business model are becoming the victims of violent change in the music world. But on the other hand, in their place is a new sense of freedom, recording impromptu vocals with an enthusiasm that goes back in this country to much earlier American music, or making records about – and to benefit – whales. At the risk of being overly crunchy, there’s something nice about that new ocean of possibility, even if, like the ecological reality, it’s a fragile one.

“When was the last time you listened to a whole album? Do you do that any more? Do you still go buy albums and EPs?”

Yep.

Dirty Projectors + Björk- All We Are by DominoRecordCo

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