census

Survey Giveaway: Win $2500 in DubSpot Online Training, Reason+Record, or AdrenaLinn Sync

It’s time for a census of CDM readers. But we can give back to you for your time – some prizes, and more investment in the site. Photo of 1940 US Census, CC-BY-ND United States Department of Agriculture; Library of Congress, LC-USZ62-91199. Take a very short survey, and you’ll be entered to win some six months of intensive training in music production and Ableton Live, or copies of some of our favorite recent software, a two-app box set of Reason and Record from Propellerhead or Roger Linn’s AdrenaLinn Sync. Knowing more about our readers helps us develop Create Digital Music, …

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Behind the Scenes of Propellerheads’ Oversized Drum Machine

There’s obviously something about big. In the 1988 film Big, the iconic scene featured Tom Hanks and Robert Loggia tapping their way across FAO Schwartz’s oversized piano. Now, it’s the drum machine’s turn. David Crowder*Band drummer Bwack made the oversized stage version of an MPC-style set of drum pads, seen below and on CDM in 2008. That model featured a rack for a computer, making it a real workstation. This week, to celebrate the launch of their new releases of Reason and Record, Swedish music developer Propellerhead had their own entry. It features not only pads big enough to dance …

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Free Shigeto EP Explores More Textural, Narrative Worlds

Michigan-born, Brooklyn-based artist Shigeto is one of my favorite artists on Ghostly International. AKA Zach Saginaw, Shigeto has been making collages of electronic beats, richly-textural releases, many of them following the narrative of his family’s experience in Japanese internment camps here in the US during World War II. “What We Held On To” is a surprisingly-deep EP, following his last “Semi-Circle” and coming before the upcoming full-length “Full Circle.” It’s released completely free for download from Ghostly, and the tracks (included here) have also made it to his SoundCloud account if you want to share your comments on that favorite …

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What’s New in Reason 5, Record 1.5, in a Nutshell

Octoloopy: a new Dr. Rex allows loading multiple loops, at last. But drum synthesis, sampling in Reason may steal the show. As I mentioned earlier today, the big news story in the Reason and Record announcements is that you don’t need Record to record; Reason now does sampling. Here’s the full look at what’s new from Propellerhead’s software music workstations. Highlights: A new drum designer. Drum synthesis, sampling, REX loops, physical modeling, and effects modules drive a 16-pad drum instrument, so you’re no longer limited to faux 808s or samples – you can make your own drum sounds. This alone …

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Reason, Record Updates Revealed Today; Big News – Reason Gets Sound Sampling

In case you haven’t seen already, Propellerhead is slowly doling out new feature information on its website for Record 1.5 and Reason 5. So far, they’ve announced pitch correction and vocal synthesis in Record (because we really don’t have enough AutoTune-style vocals in the world, apparently), multiple loop support in REX, and new block-style arrangement (a bit reminiscent of Cubase’s implementation to me). It’s all good stuff, and I look forward to seeing what the final announcement is later today. I’m still hoping that Record gets ReWire host mode, because I can think of some users who would love to …

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Reason and Record Patching and Guitar, New Propellerhead Testing?

52 Reason and Record Tips Week 4 – Unlocking the Secrets of CV and Gate. from James Bernard on Vimeo. Reason and Record may lack plug-in support, but what they do have – open-ended patching between the available modules, in the tradition of analog synthesizers – opens up plenty of creative possibilities. The only sad news is that many Reason uses don’t take full advantage of that depth. Here are three tutorials to get you started, if you’re not familiar with how to do this (or if you need a video to send your friends to get them patching). At …

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Record and Reason: Tips, Tutorials, Goodies, and Reviews

52 Reason and Record Tips by James Bernard Week 1 from James Bernard on Vimeo. I’m writing this from the wintry wonderland that is Stockholm, Sweden. How geeky is this country? Geeky enough to use their entire nation’s terrain to construct the world’s largest scale model of the solar system. And they’re the home of music software developer Propellerhead, with whom I’m talking a stroll in just a few minutes. In the Props’ honor, here’s a round-up of some handy stuff for Reason and Record users, plus a link to my most recent reviews. The timing couldn’t be better. Propellerhead …

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DAW Day: Propellerhead Record is Here, with Lots of Free Training

Record is now shipping, and the beta closed – and now is a perfect time to talk about learning. Okay, let me explain something. Propellerhead doesn’t want Record to be called a “DAW,” for Digital Audio Workstation. I personally overcame my own distaste for the strange acronym today because, well, there’s not another good name for a related set of tools. But I do think Record is different. Workstations are usually defined by being all-in-one environments, for hosting other third-party instruments and effects, and adding in additional features like notation and video scoring. Record is none of those things. You …

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Snow Leopard Watch: Ableton, Propellerhead Respond

Okay, that’s technically not a snow leopard, but I came pretty close, right? Photo (CC) Mark Kenny. For the latest on Mac OS X Snow Leopard (10.6), be sure to check out our full round-up. It’ll be regularly updated through the coming days. We have updates from Propellerhead and Ableton. Basically, the message is what we’re hearing across the board – developers have been testing their software, but you should be cautious about updating and ensure all the hardware, software, and plug-ins you want to use work. More details on the state of development from these favorites to follow… notably, …

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Tron, Redux Redux: Trailer with Daft Punk Music, New Reaktor-Reason-Live Score

In a Hollywood overrun with remakes, a new Tron has quite a daunting challenge. The original film may be a cult hit for its 80s arcade cool, but it also was a seminal moment in the evolution of computer animation, at the nexus of obsessive-compulsive optical effects that came before and digital effects that came after. (Google Perlin Noise, if you must.) But where the bits of the effects look uneven or dated alongside the brilliant, it’s nearly impossible to top the genius of Wendy Carlos’ score. Her deft blend of choirs, orchestras, organs, and rich electronics wasn’t just forward …

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