KORG and partner Detune, last seen bringing the M01 to Nintendo handhelds (as well as iMS-20 to iPad), are at it again.
This time, Nintendo 3DS will get a package called the DSN-12. Technically, it’s not just one synth: it’s twelve monosynths, plus effects, plus sequencers.
And you can view it all on an oscilloscope – in three dimensions.
This could be boring, but it isn’t. The results sound gritty, funky, and groovy, and the pattern chaining should appeal to people who like handhelds for their all-in-one musical inspiration. Details are a bit sketchy, but here’s what we’re told:
- Twelve monophonic synthesizers
- Add up to three effects
- Effects modules: delay, chorus, flanger, compressor, kick, and reverb
- 64-step sequences
- Chain sequence patterns into 99 scenes
- 3D oscilloscope display, with both Wave and Lissajous modes (check the hypnotic twisting arcs below)
- eShop download: North America, South America, Europe.
- Compatible with 2DS/3DS/3DS XL. (Obviously, 2DS lacks 3D functionality.)
- Availability: September.
The UI already shows some familiar features from the past KORG DS outings – but, nicely enough, combines the best of each of them. There’s MS-20-style patching for sound creation, pads and keys for live playback, grids for sequencing, mixing options and effects controls.
The press release emphasizes real-time song creation, with “DJ-like” performance controls – so apparently you can load up sequences and perform with them. There’s also file exchange over local communication (no word yet on whether you get SMF export, etc.).
Sounds interesting. We’ll be watching.
The post KORG Adds More Synths to Nintendo 3DS – Now With 3D Oscilloscope [Screens, Videos] appeared first on Create Digital Music.
Superlover is the newest edition to the Mother Recordings family and releases his debut EP on the label. This release is masterfully crafted for the summer party season with two tracks of pure pleasure. We’re sure you will enjoy this as much as we do! ‘Steam’ starts off with a dirty percussion and bongo groove then builds tension with a hypnotic melody and bass combo. Seductive and subdued vocal hits lead us into the breakdown for a blissful point of release. A perfect festival tune with a super sexy groove and a melody that sticks to the brain like glue. ‘Make Love’ is A super catchy riff and funky house beat opens the track while the vocal is teased in and finally the track explodes like a rainbow of confetti! Expect full booty shaking from the ladies on this one. Guaranteed to bring sunshine and smiles to every dance floor.
Title: Steam EP
Label: Mother Recordings
Catalog No.: MOTHER023
Google isn’t just being a little bad in their contract negotiations with indie labels. In a leak to Digital Music News, it proves to be the worst contract I or anyone I’ve talked to has ever seen, for anything music-related. It puts the “boiler” in boilerplate.
If this leaked contract is what Google still stands by, and current analysis in the music press is correct, the deal is deeply unsettling. It blurs the lines between free and premium services by placing them all under a single contract. YouTube and its Spotify rival would be under one deal. It sets rates independently for smaller labels based on a single, not-very-good fee. And then it protects Google from any action that would stop unauthorized or pirated uploads to their services.
I can sum it up roughly this way, unless I’ve seriously misread the terms and their intentions:
Sign this contract. It covers everything Google does – free (like YouTube) or otherwise. It lets us specify license terms and royalty rates, not you, and not any organisation that represents you. It gives us rights to all your music, and all your music videos, and everything else. It gives us rights to pirated music and videos other people upload, too. And you promise never to sue us.
(and another thing.) Sign it, or we’ll ban you from YouTube for your own content.
The key sections to watch out for: not only is there a “do not sue” covenant that prevents labels from protecting their own content, but it merges free services (apparently including YouTube) with the upcoming premium ones. At the very end, you’ll also find the royalty rates that had frustrated indies, which are reportedly lower than those they had gotten from other sources and lower than what majors had been offered. (The numbers are now out there for discussion.)
But the real surprise here is the lawsuit immunity provision. It’s easy to understand why Google would want it; it’s just that if they succeed in forcing labels to sign, it’s a fairly ugly development. It was already shocking enough that Google would hold hostage music uploaded by artists and labels to YouTube just to get preferential terms for the company on its premium service. It’s even more shocking that it would protect non-authorised, pirated content in the same contract, blurring premium and free services.
Or, as The Register more succinctly put it:
…the move will preserve Google’s illegal supply chain by cracking down on its legal supply chain.
Unless Google can explain otherwise, that is, the current understanding is that Google is threatening legal content that follows its terms of service, as part of a contract that would protect illegal content that violates it.
That’s a low not even the likes of Napster or Megaupload or Pirate Bay ever reached.
Google might not have to block labels and artists from YouTube. If this remains their negotiating contract with indies, those musical entities would be well advised to abandon Google’s services of their own accord.
And if this is all wrong, and this isn’t what Google is offering – or if it is, and they have a change of heart – the company needs to quickly get out in front of the music community and public with better terms.
The post The Terrible, Horrible, No Good, Very Bad Google Music Contract? appeared first on Create Digital Music.