How to Make Kick Drums with Sylenth1

How to make kick drums with sylenth1

For this months how to we are going to show you how to make deep booming kicks that will work with Techno, Deep House, Tech House and Minimal. Our weapon of choice is Lennar Digitals most popular synth Sylenth1.

This kick drum preset will give you the boom your looking for to shake the club.

If you like this kick drum preset why not try Sylenth1 Techno Presets or Sylenth1 Deep & Tech Presets

Also here is our first how to “How to Make Dub Tech Stabs with Sylenth1”

I Love Ikea

Ikea is one of those things we all love, especially for studio furniture. In this video is a transformation of one man’s mess into an organized studio space and there are tons of tips and ideas crammed into it. And as a fair warning, you may find that you’ll want to stop the video here and there to look more closely at them.

ELEKTRICITY ROY ROSENFELD

ELEKTRICITY ROY ROSENFELD


Roy brings the one-track madness with "Elektricity" and it's the chromatic riff that sets this apart from the rest of the herd. Crackling percussion holds the fort down properly while warped synths mutate in their own twisted way, kicking things up a notch or ten.

KERRI CHANDLER REFUSES TO PLAY "COMMERCIAL SHIT" IN PARIS

KERRI CHANDLER REFUSES TO PLAY "COMMERCIAL SHIT" IN PARIS

House music titan Kerri Chandler made a very public proclamation during a gig on Sunday February 3.

Playing a special 'Legends' party at the Rex Club in Paris, Chandler killed the music mid-set in order to take to the mic, saying: "If you want to request more commercial shit then get out, get the fuck out."

Apparently he didn't like what some members of the audience were asking for. Which is understandable. A man who's been such a big part of house music probably won't play any EDM or mainstream chart bangers.

His outburst was recorded by someone in the crowd and uploaded to YouTube. Check out the video below.

Get Your MP3 Tags in Order

Get Your MP3 Tags in Order

Every obsessive digital music collector feels a warm sense of pride knowing that his vast library of MP3s is tidy and well-tagged.

While the most recent release of iTunes featured the player's most robust song file tag-editing capability to date, there are still many other options available for managing a music collection. In fact, anyone who rips CDs outside of iTunes, downloads songs from Russian MP3 sites or -- gasp -- doesn't own an iPod would find a viable alternative to Apple Computer's media player quite welcome.

Many lesser-known music library managers simply offer more tagging features than iTunes, such as the ability to obtain artist biographies, automatically retrieve album art from a variety of sources and even fetch song lyrics.

Wired News has assembled some of the best and most popular stand-alone ID3 tag editors for this review. Before we get started, here's a quick primer on what ID3 tags are and what these editors do.

Your music files' metadata -- song title, artist name and so on -- is stored in a tiny companion file called an ID3 container. Two standards of ID3 exist, and some tag editors feature tools to smoothly migrate from the older ID3v1 tag standard to the newer ID3v2 standard. While ID3v1 only allowed fields for title, artist, album, a brief comment, year and a mere 80 different genres, ID3v2 expanded support to include album art, beats-per-minute data, lyrics and other arbitrary text. ID3v2 also added UTF-8 support, so you can be sure that Björk's umlaut shows up properly.

All of the editors we reviewed support MP3, but a number also support other codecs such as Ogg Vorbis, FLAC lossless audio, Microsoft's WMA format and the emerging AAC standard. The different tag editors also gather metadata -- typically from freedb or Amazon.com -- with varying levels of efficiency.

We'll begin with Windows software, then look at Mac and Linux options.

Zortam ID3 Tag Editor

http://www.zortam.com

Windows only

$20, shareware

The Zortam ID3 Tag Editor, in addition to having a name that sounds like a rejected Superman villain, has one of the busier interfaces in the lineup. Zortam displays a folder list, media library window, track listing and ID3v2 and ID3v1 windows. While the complicated controls enable one to find the more difficult stuff like cover art, song lyrics and even editorial reviews from Amazon, the hefty interface works against the user too often. The simple act of editing a solitary tag involves too many right-clicks and checkboxes.

Batch editing works as expected, and Zortam will even try to construct tags for you by parsing songs' file names. Automation is limited to cover art and lyric retrieval, so you'll have to enter things like the year of release manually. Zortam can do plenty of tricks, like convert ID3v1 tags to ID3v2, but the developers should get the more practical automation tools nailed down before adding more advanced features.

1st MP3 Tag Editor

http://1st-mp3-tag-editor.com/

Windows only

$30

For a simple tag editor, 1st MP3 scores some points for supporting Ogg Vorbis, M4A, WMA and FLAC files in addition to the common MP3. However, the editor's simple interface could use a little more complexity -- it shows one folder's worth of files at a time. It also has free-floating album art and lyrics windows and it can generate tags from file names.

The batch-editing features are great, but the automation features work sporadically; freedb queries require you to select an entire album's worth of tracks, so if you happen to hate Tricky's cover of Public Enemy's "Black Steel" enough to leave it out, this application won't be able to help you. 1st MP3 does work more effectively with queries to Amazon, however. All in all, 1st MP3 gets the job done, but anyone looking to revamp a large collection may grow frustrated with the too-simple feature set.

FixTunes

http://www.fixtunes.com

Windows only

$25

In theory, you can point FixTunes at your entire music collection and let it automatically straighten out your metadata. In practice, it threw about 90 percent of my collection into the "not looked up" category and sat waiting for my approval, which was not forthcoming.

This glitch aside, it worked once I limited things to a per-album basis. The program displays an accuracy percentage based on its automated data lookup. FixTunes gets credit for trying to take a wizard approach to tag editing, but it introduces one too many steps. Its advanced features, like "list related albums," could be duplicated with a quick trip to Amazon, and it would be more useful if it manually constructed tags for you when its automated tag lookup fails.

MediaMonkey

http://www.mediamonkey.com

Windows only

Free, pro version is $20

MediaMonkey's interface is full-featured yet streamlined and not crowded. The pleasing blue scheme has an embedded player with integrated ripping and burning features.

The application queries freedb and Amazon for tag data, and it can fix tags based on file names. Album art and the usual generic tag data can be pulled from the public databases, but lyric and comment retrieval are not included. Batch editing, both manual and automated, were easy to pull off.

Other features, like volume normalization and the ability to sync with your MP3 player, make MediaMonkey stand out, and the extra features don't interfere with ease of use.

MP3 ID3X

http://www.three-2-one.de/321apps/

Mac OS X only

$18, shareware

The elegant simplicity of this shareware application for Mac OS X is appealing -- users are presented with a single window to work with. ID3X does batch file renames and tag reconstruction based on song title and folder name, and the program can be extended with custom scripts. ID3X does simple song playback well, which is handy for quickly previewing unknown tracks. Album art handling could be improved, though. Users can drag and drop cover art images, but only to one track at a time, and batch album art jobs are hindered by a cumbersome process.

But the fact that it doesn't connect to the internet to retrieve tag information really dooms ID3X. Other programs can grab tags from freedb and other online sources. The program does support lyric retrieval through Lyrictracker.com, but it failed on every track attempted.

MPFreaker

http://www.lairware.com/mpfreaker/

Mac OS X only

$20, shareware

Even with all of its features, MPFreaker manages to present a clean interface. It pulls playlists and library data from iTunes. In fact, it largely mimics Apple's media software in appearance, with one long list of tracks organized by tag. The album art thumbnails that appear in the list view are a particularly inspired touch. MPFreaker supports AAC audio files, including tracks purchased from iTunes.

MPFreaker's automation tasks were impressive but not perfect. If you're lacking an artist name, the program will become hamstrung during its discovery task. Also, song titles like "01 Block Rockin' Beats" won't get your track number tags situated properly. The software will grab album art and lyrics automatically, but it does not support the comment field.

Options for manual tag editing are limited. While it's easy enough to edit a single track's tags, the software doesn't allow for batch editing.

EasyTag

http:/easytag.sourceforge.net

Linux only

Free, GPL

EasyTag, the first of the Linux apps we reviewed, gets the prize for easy installation. Users of Fedora can download it automatically using the yum utility. It features a "simple and explicit interface," a three-paned view for folders, track listings and tag details. The embedded player supports a wide range of audio formats, including FLAC and Ogg Vorbis.

EasyTag does support automated lookups through freedb, though album art retrieval is lacking at the moment. EasyTag does the basics well, with batch updating, and tag updating based on file name. But the basics are pretty much all it does. A new, unstable version promises support for album art and an updated look with a newer GTK graphic library.

Kid3

http://kid3.sourceforge.net

Linux

Free, GPL

For those fond of a KDE desktop, Kid3 provides a solid tag editor. Kid3 can edit Ogg Vorbis and FLAC files in addition to the usual MP3s. The interface is clean, with an emphasis on a single folder view that shows ID3v1 and ID3v2 tags simultaneously.

Kid3's automated tag import feature is nice -- it supports the new freedb servers as well as MusicBrainz and Discogs. If you have album information lying around in CSV format, the editor can import that as well. Icons next to each track indicate the file's tag version. The basic fields are supported, but Kid3 lacks support for album art and lyrics. Updates for those fields would be helpful, but this editor makes a nice addition to the Linux desktop tool kit as it is now.

NAMM 2013: A roundup

NAMM 2013: A roundup RA's Jordan Rothlein visited the annual trade show this past weekend to get the scoop on the latest and greatest in music technology.

Each January, the National Association of Music Merchants converges on the Anaheim Convention Center for one of the industry's largest gatherings. And that means something very specific for the tech-minded. For us in electronic music, the NAMM Show invariably means new kit. That new synthesizer you've been salivating over? It was likely announced around the time of the show, and the convention center floor is typically the first place you can actually touch it. But the show is simultaneously more and less than it seems. The electronic and production side of things is unquestionably a big draw, but as I wandered the enormous convention center halls this past weekend, I was struck by what a small fraction of the industry our interests represent. Carbon-fiber guitars, drum sets on slowly spinning platforms and vast plains of marching-band brass still took up much of the square footage this year. And NAMM attendees—all of whom must either be in the industry or attending at the invitation of a vendor—tend to match the stereotype of the aging hair metal veteran disturbingly well. Encouragingly, though, the folks crowded around controllers and plug-in demos looked younger and a good deal hipper, and I sensed no shortage of interest in the gear that keeps electronic music production spinning.

Of all the NAMM-synchronized rollouts this year, it was a trio of synthesizers that made the biggest splash. Korg has brought a classic back to the market with the MS-20 mini, now with USB-MIDI support and a desktop-friendly smaller footprint. Dave Smith Instruments introduced the Prophet 12, a polyphonic synth with a new sound engine, some gorgeous analog filters, a nifty display borrowed from their Tempest drum machine and admirably deep functionality. (At around $3000, it's a serious investment, though it sounds like a million bucks.) But it was Moog's entry, the Sub Phatty, that I found most impressive. Where previous Phattys sported digital readouts, the Sub Phatty is all knobs and analog circuitry. The synth, though, feels very much of the moment. Connect it to your computer via USB, and the Sub Phatty has the same functionality as your favorite soft-synths: you can automate all your knob-twiddles and play it with a MIDI track in your DAW. Its sound, of course, is one that software still can't deliver, though something in the bass tones I was teasing out at the Moog booth sounded supremely contemporary. It'll set you back around $1100 when it arrives in March, but it's money well spent for producers looking to step outside of the box without sacrificing what's appealing about working inside it.

There were a few conspicuous absences on the floor this year. Two of the biggest names in electronic music, Ableton and Native Instruments, didn't have booths. When I brought this up with one tech company rep, I was met with an incredulous look. Why would these companies waste time playing a game they obviously won some time ago? Nearly every DJ controller worth its salt was running NI's Traktor (or Serato, whose "booth" with hardware partner Rane was basically just a DJ performance space), and practically every computer not running Pro Tools was flexing Ableton Live. At its core, NAMM is about manufacturers convincing vendors to stock your stuff over everyone else's. These big three don't have any convincing left to do. Which isn't to say these guys didn't show up: Ableton was an elevator ride from the convention floor in a hotel suite. (NI was, too, apparently, though I only found out about it after they'd packed up for the weekend.) There, Ableton reps were demoing the company's forthcoming Push controller. They floated Push back in the fall, but NAMM was one of the first chances for industry folks to see it in the flesh. It didn't disappoint. Far more than a mere reboot of the Ableton-centric APC40 controller, Push and its bank of 64 pads can launch clips, step-sequence and even compose melodies via a curious color-coded grid. The device certainly isn't without precedent, but it's exciting to think of something like this rolling out on a massive scale. At a trade show where "update" passes as "brand new," Push felt like a rather brave step forward. (And at a base price of $599, it stands to be a real game changer in the controller market.) Ableton may have stayed upstairs, but Bitwig was working the floor as hard as possible. A studied Ableton competitor currently in beta, this new digital audio workstation is looking to improve upon a giant of electronic music production. With streamlined support for multiple displays, a mode that combines session and clip views in a single display and a novel feature for combining sound events within clips, it's clear where this Berlin-based startup has its sights set. We'll have to wait until later this year, when Bitwig emerges from the company's labs, to see how well they compete. Whether running DJ software or powering standalone music-making apps, the iPad was ever-present at NAMM. The device is no longer a cheap thrill, but I sense the industry is still grappling with its implications for professionals. It came out last year, but WaveMachine Labs' Auria DAW remained the most unabashedly pro (and thoroughly badass) iPad app on the floor. Auria is a true 48-channel DAW, sporting high-res specs (24-bit/96 kHz recording on up to 24 tracks simultaneously) and a host of pro plug-ins from the likes of PSPaudioware. I still can't imagine tackling a major recording project on an iPad, but Auria (and the growing line of sophisticated iPad-ready audio interfaces from manufacturers like Focusrite and RME) suggests I start. Another product that stands to "grow up" is the micro-keyboard, an invaluable tool for live performance. Keith McMillen Instruments seem to understand this better than most. After the crowdsourcing success story of QuNeo, KMI's pad controller that debuted at last year's NAMM, the company has brought the same level of quality hardware and smart design to a new micro-keyboard called QuNexus. At around $150, it's a solid $100 more expensive than its competitors, but it feels like a serious (and seriously durable) instrument by comparison. QuNexus' features (tilt- and location-sensitive keys, control voltage support for the modular freaks) further suggest it's in a class above its competitors. KMI also unveiled Rogue, a QuNeo attachment allows it to interface with your computer wirelessly at up to 60 meters. The execution is a touch awkward at this stage—it's nearly as thick as QuNeo itself and connects to the main device via a small USB cable—but it's certainly a start. It's old hat now that everyone in America wants to be a DJ these days, and this assumption was evident on the floor at NAMM. From big names like Numark and Gemini to a handful of manufacturers I'd never heard of, everyone seemed to have a controller whose features and price had the consumer market in mind. Even Pioneer, a standard-bearer of the pro DJ market, has its eyes on this segment. At under $300, their DDJ-WeGo controller places more emphasis on its physical attributes (it comes in five colors! the lights underneath the jog dials pulse to the beat!) than its patently meager feature set. For Pioneer, though, a controller like this is less a prestige device than shrewd branding—a chance to capitalize on name recognition at a time when the DJs using their top-of-the-range devices have never been so visible in the United States. In terms of those top-flight products, Pioneer continues to push its nexus system, which allows DJs to buck USB sticks and load tunes into CDJs direct from computers, smartphones and tablets over a Wi-Fi network. (Their Platinum Edition nexus bundle, comprising a pair of CDJ-2000s, a DJM-900 mixer with a Traktor-approved internal sound card and an external RMX-1000 effects unit, was the big new thing they were showing off this year.) Still a little unclear how this works, I asked a rep to run me through the process. nexus-enabled CDJs, it seems, need a hard connection to the wireless network, which struck me as surprisingly low-tech and clunky. Are there really that many clubs with a router in the DJ booth? The rep felt I was thinking about this the wrong way. Pioneer is taking the long view, he suggested, setting the stage for an era in which wireless networks would be ubiquitous in nightclubs. In the sea of controllers, the most original device I saw for DJs wasn't necessarily for DJs at all. The Vestax PBS-4, first announced in October, is aimed at web-streaming. It takes up to three channels of audio and four video inputs and some relatively simple controls for mixing audiovisual broadcasts. It looks like it was made with more complex broadcasting in mind, but I see this as a valuable tool for any DJ doing a lot of Ustreaming or an upstart looking to best Boiler Room.

Sylenth1 Deep & Tech Presets

Sylenth1 Deep & Tech Presets





Exclusive to Beatport and Sounds to Sample.

Sylenth1 Deep & Tech Presets is a sylenth1 preset pack full of techno stabs, lush organic keys and bouncy deep bass presets. Sylenth1 Deep & Tech Presets gives you every thing you need to create deep underground techno, deep tech, techno, tech house, minimal and underground house.

Sylenth1 Deep & Tech Presets includes 108 presets. All the presets in Sylenth1 Deep & Tech Presets are organized into banks to allow you to maintain your work flow. The banks are split up by Arp & Sequences, Bass, Extras, (Drums and Effects), Keys and Synths.

Also for added creative control there is 39 customizable midi files. Included are bass, keys and synths midi files. These are a nice compliment to the presets they are customized for.

Sylenth1 Deep & Tech Presets only includes sylenth1 presets and midi files. Note that the tops of in the demo come from Spf Samplers Deep Tech House sample pack (thou all the kicks are from Sylenth1 Deep & Tech Presets) .

The collection is compatible with all versions of Sylenth1 v2.02 and higher (PC and Mac).