The Yamaha E1010 Analog Delay is a true gem for any audio enthusiast or musician seeking to add warmth, depth, and character to their sound. With its rich tape-like echoes and remarkable analog circuitry, this delay unit has cemented its place in the hearts of countless musicians and producers.
Here are 10 notable musical works that were expected to enter the public domain in 2022:
The public domain is a term used to describe works of creative expression that are not protected by copyright. This means that anyone can use, reproduce, or distribute these works without permission from the copyright holder. The public domain is important because it allows for the free flow of information and ideas, and it encourages creativity and innovation.
In the United States, works enter the public domain when the copyright expires or when the work is never copyrighted in the first place. The copyright term for works created after 1978 is the life of the author plus 70 years. Works created before 1978 have a shorter copyright term, depending on when they were published and whether or not the copyright was renewed.
Some examples of works in the public domain in the USA include:
Here are some examples of how the public domain is used in the USA:
Here are some tips for finding and using public domain works in the USA:
The Alesis HR-16 drum machine is a classic electronic drum machine that was first released in the late 1980s. It was designed to provide musicians, producers, and composers with a versatile and affordable tool for creating drum patterns and beats. The HR-16 features a compact and sturdy design with a user-friendly interface. It consists of a 16-pad grid layout, where each pad represents a specific drum sound or percussion instrument. The pads are velocity-sensitive, meaning the intensity of the hit affects the volume and timbre of the sound produced. Stock, there are 49 sounds including 10 kicks, 7 snares, and a complete percussion set - all of which are 16 bit samples.
"Just Like Heaven" by The Cure: The HR-16 was used to create the distinctive drum pattern in this iconic 1987 track, known for its catchy melody and upbeat rhythm.
"Don't You (Forget About Me)" by Simple Minds: The HR-16's drum sounds can be heard driving the rhythm in this 1985 hit, famously associated with the movie "The Breakfast Club."
"Policy of Truth" by Depeche Mode: Released in 1990, this synth-pop classic features the HR-16's electronic drum sounds, contributing to the song's pulsating groove.
"Situation" by Yazoo (Yaz): The HR-16 was used to craft the drum pattern in this synth-pop gem from 1982, showcasing the machine's capabilities in creating danceable beats.
"Groove Is in the Heart" by Deee-Lite: This funky dance track from 1990 incorporates the HR-16's drum sounds to create a lively and infectious rhythm that keeps the party going.
"Master & Servant" by Depeche Mode: Another hit from 1984, this song features the HR-16's electronic drums to deliver a driving and industrial-inspired beat.
So lucky to work with Keith Jenkins on this tune. And I got to play drums on the song. Fun times!
Here are 10 notable works that may enter the public domain on January 1, 2024:
As students prepare for their upcoming music technology internship, it's important to recognize the unique dynamics of this field. Internships in music technology, whether in the realms of post-production, recording studios, live sound, or music venues, offer invaluable hands-on experience that can shape your future career. However, it's essential to acknowledge that most opportunities in this domain are not advertised. This can create a sense of uncertainty or hesitation when reaching out to companies that may not have active internship postings.
In the ever-evolving landscape of the music industry, internships often serve as the gateway to professional success. Networking remains a crucial factor in securing these opportunities, especially in a niche field like music technology. Consider the following advice to navigate the world of music technology internships:
Remember that polite persistence and resilience are key when navigating the competitive landscape of music technology internships. Don't be discouraged by the lack of advertised positions; instead, view this as an opportunity to shape your career path. Cultivate genuine connections, showcase your skills, and remain committed to your passion for music technology. By taking these proactive steps, you can enhance your prospects of securing a rewarding and enriching internship experience that aligns with your professional aspirations.
Group projects are a fact; school or no school. There are repetitive snags that always come up. The two basic ones are communication issues and not building in time for editing/revisions. if the group is facing a challenging situation due to poor time management and attendance issues, here are a few thoughts on alleviating the stress of group projects.
At Studio F, one of the well-equipped recording spaces at Capital University, we embarked on a mission to capture the guitar amp. Our experiments led us to delve into the intriguing world of proximity effect and the role of mic placement in mitigating its impact.
Understanding Proximity Effect: In our initial attempts, we positioned the microphones close to the guitar amp, intending to capture the raw power and intensity of the sound. However, we encountered an unexpected challenge - the proximity effect. This phenomenon results in an increase in bass or low-frequency response when the microphone is positioned close to the sound source. While this effect can add warmth and richness to the sound, it can sometimes lead to an overwhelming bass-heavy tone that might not be desirable for certain styles of music. The low end can create muddy tones. The low end can overpower the kick drum and bass guitar. And the low end may not representative of the sound coming off the amp
Counteracting Proximity Effect: To counteract the proximity effect and achieve a more balanced and natural tone, we decided to experiment with the mic placement. We moved the microphones away from the amp, testing different distances to find the sweet spot. Approximately two feet away from the amp, we discovered a sweet spot that allowed us to capture the full spectrum of the guitar's sound without the exaggerated low-end frequencies.
I find the creative process exciting, and embrace limitations.