Whitney Houston – How Will I Know (Sina & Niko Schwind Remix)

If you’ve listened to March EP27 Progressive Mix then you most likely know that I made a tribute to Whitney Houston by playing a mashup version of ‘How Will I Know‘, but I soon realized that I should’ve recorded or remixed an entire track in memory of this wonderful talent.  So here it is! Nearly 10 minutes of Progressive House and Whitney Houston for your pleasure! Extended Version, yes sir.

The song was initially recorded in 1984 and was released in November 1985 on Clive Davis’ old recording label ‘Arista Records’ that was owned and run by Sony Music Entertainment until its final days in 2011. Interestingly, Janet Jackson was supposed to sing ‘How Will I Know’, but she passed on it. The song even hit the TV show Glee!

It’s a free download, and weighs in at 21.7 MB @ 320 kbps. The original song was written in G  major with 120 BPM with an exquisite chord sequence consisting G-Bm7-C7-D-Em.

Download Whitney Houston – How Will I Know (Sina & Niko Schwind Remix)

[audio:http://www.sound4sina.com/songs/Whitney%20Houston%20-%20How%20Will%20I%20Know%20(Sina%20&%20Niko%20Schwind%20Remix).mp3]

Announced artist lineup for 2012 Electric Daisy Carnival Las Vegas

Finally. The official artist lineup for Electric Daisy Carnival 2012 in Las Vegas has been released. The spectacular event will take place on June 8-10 and will surely transform the entire sin city into a big EDM party! The confirmed A-list DJ’s that can be mentioned are Tiësto, Steve Angello, Sebastian Ingrosso, Avicii, Benny Benassi, Afrojack, ATB, Above & Beyond, Armin van Buuren, Bassnectar, Calvin Harris, Carl Cox, Dada Life, David Guetta, Erick Morillo, Kaskade, Knife Party, Porter Robinson, Richie Hawtin and more. There will be a seventh stage in addition to the six stages from last years’ EDC in Las Vegas. Also, all attendees will have free access to amusement rides and attractions at the 1,000-acre speedway complex along with an additional 500 theatrical performers, including fire twirlers, aerialists, dancers, and stilt walkers. All this will of course be accompanied with state-of-the-art lighting and sound production and nightly pyrotechnic displays.

“Last year’s introduction to Las Vegas was a remarkable event for Insomniac, gathering more than 230,000 people in the desert for an exciting new chapter in Electric Daisy Carnival history. As dance music continues to explode on a global scale, we’ll continue to push the boundaries of what makes Insomniac unique: a fully immersive festival experience that features hundreds of theatrical performers, interactive art installations, pyrotechnics and special effects, state of the art production, not to mention the largest stage in North America. I’m excited to share what we’ve been developing since last year’s show with our incredible fans.” – Pasquale Rotella, founder and CEO of Insomniac Events.

This years’ EDC is expecting more than 300,000 attendees, which translates into 25% more EDM fanatics than Electric Daisy Carnival 2011, which in fact was the first ever held party in Las Vegas after its move from Southern California where it was held for 13 consecutive years until its move to Nevada in 2011. 300k is a pretty impressive number, so it is probably worth some planning ahead by getting your hotel booked as the event is closing up. Use the Promo Code REBATES12 and get $20 Rebate with a 3-Night Hotel Booking in Vegas or check out the best Las Vegas Hotel Deals!

Continue reading

‘Beretta Music’ Presents Ten Years of Techno, bringing Aril Brikha et al.

The Detroit based recording label ‘Beretta Music’ is holding a 10-year anniversary party on May 26th as a celebration for a decade-long dedication to Techno music and all fanfare that comes along with this wonderful musical genre. One can only appreciate such initiative!

The initial lineup has been released, and it certainly doesn’t leave anyone disappointed, rather very much excited. Knowing that Detroit hold a long track record for being the place to be when it comes to Techno and Minimal festivals, the timing for the event is quite interesting. Detroit Electronic Music Festival has perhaps disappeared into the mist and shadow of Electric Daisy Carnival, but being held just a week after EDC 2012 in New York, it surely will fade into the post-EDC madness that most likely will stretch until the main Electric Daisy Carnival event that is taking place in Las Vegas on June 8-10.

One major difference is seen at the Detroit Techno scene, and that is the mature audience that have their roots from the early days of Detroit House and Techno. Remember Juan Atkins, Derrick May, Kevin Saunderson, Jeff Mills and Frankie Knuckles that peaked back in the late 80’s? Well, no wonder that the DEMF audience mainly consist of grown-ups from the late 70’s and 80’s that still live the vinyl life on a pair of 1210’s, cranking classic ghettotech thru vented diaphragm Grado earmuffs.

This event is very welcomed, and I am ecstatic that the Swedish-Iranian Aril Brikha will bring on a live set. Don’t miss the 10th Anniversary of the Local Detroit Record Label, Beretta Music! General admission tickets go for $15 (excl. taxes).

Click on the play button above to listen to Aril Brikha’s track ‘Palma’ from the Palma EP (2011 Art of Vengeance) . You need Spotify to play this track, and you can also listen/buy the MP3.

Artist Lineup

  • Aril Brikha (live)
  • Reference (Luke Hess & Brian Kage) (live)
  • Omar-S
  • Ryan Crosson
  • Arthur Oskan (live)
  • Christina Chatfield (live)

Three rooms of sound by SOURCE AUDIO

Location and time

The Works
1846 Michigan Ave
Detroit MI 48228

Saturday, May 26, 2012
10:00pm until 6:00am

www.berettamusic.com

Facebook Event page

World Music Conference in Miami losing to Ultra Music Festival

The WMC had its 20 year anniversary in 2005, and has ever since been gathering the most enthusiastic visitors that have been there for one reason only; the love and passion for pounding electronic music. According to the official website, the interest for the festival has been growing gradually since the start of the festival 27 years ago. Statistical numbers on their website indicate that people from more than 206 countries in the world visit the WMC website each year (between October 2010 and March 2011), with 51% of the event attendees in 2011 being between 22-30 years of age, followed by 36% middle-agers between 31-40 years of age. I turned to Google for some insight on the real statistical truth behind WMC, because frankly, I’ve had doubts whether the annual conference in Miami really is the “pivotal platform for the advancement of the industry” or just a cash generator and publicity stunt. I must say that it used to be the centre for all things electronic music as well as product announcements, but watching the evolvement of NAMM (Los Angeles, USA) and Musikmesse (Frankfurt, Germany), there is no doubt that the music manufacturing industry is detaching itself from company executives and marketers on the show floors by bringing DJs and musicians to announce their products. And WMC in Miami is one such place that has been doing this very well for the past years.

There has been an increase of music festival events for the past few years, and the electronic music scene is constantly growing. But I am not seeing the same trend for World Music Conference in Miami. Below is a trend chart based on main search keywords that I believe is mostly common when searching on Google for these two events. Not so surprising, but Electric Daisy Carnival now is becoming a very popular event, that recently spread its wings to the US East coast, specifically in the tri-state area for the EDC 2012 in New York.

Let me reiterate what I mean. Electronic music is not anymore in its infancy. In fact, there are so many sub-genres under the EDM umbrella, that not even the craziest Electronic Dance Music fan would have imagined this kind of widespread popularity of ths music back in the days (i.e underground Detroit Techno music scene), or not even the Trance producer Ferry Corsten at Innercity back in the late 90’s would probably never imagine that the Trance genre would evolve into Electro, Dubstep and Progressive House. If you don’t remember Gouryella and System F, then you probably weren’t into Trance music in the 1990’s, but as a long-time dedicated EDM follower and musician, I certainly have seen the ups and downs that followed the introduction of electronic music in mainstream clubs and radio stations, as well as in featured remix tracks for Pop, Rock and R’n B artists. Another interesting part of the evolution of electronic music is the trend that we are seeing for the most common genres in EDM. Trance and Techno are collectively decreasing in popularity, while sub-genres of these genres are becoming more popular.

Below, I compared the search trend and interest for Techno, Trance, Dubstep, Electric Daisy Carnival and WMC Miami. It is very clear that Dubstep is rapidly increasing in popularity, while techno and trance are slowly decreasing in interest.

Apple updates GarageBand, including new instruments & Smart Strings

The new Apple GarageBand 1.2 was released today, along with the new iPad 3/HD (or The New iPad, as they called it). With the Retina Display and the faster Dual-core A5X processor, GarageBand will surely be much smoother and more technically consistent, with less hiccups and loading issues. I like using GarageBand on the iPhone 4 while being on the run, but the A4 processor has not been keeping up with the application, mostly feeling sluggish and not responsive. Same issue has been noticed on the original iPad. Heck, I am a power user, so perhaps I am exaggerating, but every Mac user know that Logic Pro 9, with dozens of tracks running simultaneously on a Macbook Pro is more stable than a simple DAW like GarageBand. It always seem to be panting for more CPU power. But hopefully, the processing power of A5X will keep up with the work load.

So what’s new in the new version of GarageBand 1.2 for iPhone and iPad?

  • Start a Jam Session to play or record live with up to three of your friends using iPad, iPhone, or iPod touch*
  • Conduct an entire string orchestra using Smart Strings
  • Use the Note Editor to adjust or fine-tune any Touch Instrument recording
  • Combine recordings to free up additional tracks using Track Merge
  • Keep your GarageBand songs up to date across all your iOS devices with iCloud*
  • Share your songs directly to Facebook, YouTube, and SoundCloud
  • Perform retro and modern synth bass lines and grooves with new Smart Bass instruments
  • Play synth melodies and arpeggios with new Smart Keyboard instruments
  • *Jam Session and iCloud are available on iPhone 4 or later, 4th generation iPod touch, and all iPad models.

The update weighs in at 801 MB and cost $4.99 (free if you already own it).

One of my favorite improvements was seen in the sampler. It makes the process very easy and it is actually fun to work with the feature now, as opposed to its predecessor. Here, I have recorded a sample with the built-in microphone, and I used the trim function to cut unwanted parts of my sample. The sample can be saved and retrieved at a later point from the sampling library.

Now, the interesting part is that you can adjust the ADSR (under shape), which stands for Attack, Decay, Sustain and Release. I wrote about this feature in my project back in 2005, and I also made an animation to explain how it works (see below). Any user of a synthesizer or keyboard as well as all studio producers know about this essential feature when it comes to sound modeling and sampling. And I am really glad that the it has been integrated into GarageBand!
There is another function that I believe will be very useful, and that is the tuner. It is basically a pitch control (ranging ±36 units), with the possibility of making very fine adjustments to the tune by going ±50 units.

The keyboard buttons work as a trigger, so its works exactly like any other (synthesizer) sampler that you would have worked with, both as a standalone device, or on digital audio workstation. These are pretty amazing features, and it will surely increase the productivity and simplify the process of making music on both iPhone and now the new iPad with the increased processing power.

This is an animation of the functionality of ADSR envelope that I made. The Attack starts once the key is held down, and the envelope is sustained until key is released. Other new features that have been announced, is the Smart Strings which now will join the Smart family, including Smart Drums, Smart Bass, Smart Keyboard and Smart Guitar. Apple is really trying to make it easy to make music, and the smart feature definitely allow beginners to make music by a few screen taps without going through the hassle of learning musical notes. Simple is that. And the Smart Instruments is certainly the gateway to music production on iOS, apart from their native Mac application Logic Pro, which is the standard DAW for semi-pro and pro musicians.

How to use the Note Editor

The Note Editor is probably one of the most wanted features, and can now be used on tracks that you have either played manually (on the standalone instruments) or on the smart instruments. Once you are done with the recording, go back to the overview for all channels and select the track, followed by a tap on the track pattern (the green bar). There is an edit option in the menu bar, click on it. This will open the Note Editor. You can pinch the screen to zoom in, and from there it is possible to select individual notes that appear in the selected region for that track. If you click on a specific note, a small option screen will show up, and from here you can choose to either cut, copy or delete – and now also adjust the velocity (volume) of the note. You can do this to every individual note in the designated track, on any of its octaves (from C-2 all the way up to C8), and there are many variations on how to use the velocity to create a swing effect, often seen on drum machines and in music software.

One issue with the Note Editor is the lack of visual overview on the velocity of each note that has been edited. So it makes it very difficult to do multiple velocity edits, and keeping track (no pun intended) of the setting for each note. It could be resolved by adding a color fade to the velocity; the lower number, the lighter color of the note, and so on. But in general, the user interface in the application is very consistent and straightforward, thus making the trial and error process short so you can get started with the music production right away.

Also, another feature that would be nifty is L/R panning and effect designation for each percussive instrument for the drums (both for Smart Drums and manual drums). But these features would rapidly increase the workload on the processor, so I don’t foresee any of theses additions in the near future. The next step would be VSTi and VST plugins. As to date, GarageBand on the Mac only support AU plugins (Audio Unit), which is not technically comparable to the aforementioned VST (Virtual Studio Technology) that is the widespread technology used in modern DAW’s.

Connect your iPad, iPhone or iPod Touch to MIDI

The IK Multimedia iRig will do the job. It is an ultra-compact standard MIDI interface for iOS that connects any MIDI compatible device to the iPhone, iPod touch and iPad. The company also have Amplitube iRig for iPod touch, iPhone, and iPad that combines an easy-to-use instrument interface adapter with guitar and bass tone software for your Apple device, whether it is an iPad, iPhone or iPod Touch.