edjing Pro

NEW: After edjing, le #1 DJ app with its +25 million downloads, discover edjing Pro, the track-mixing application that turns you into a professional DJ! No more need for over-sized DJ turntables: edjing Pro has been designed to reach the same level of features as a professional DJ controller, while keeping the iPhone or iPad […]

The post edjing Pro appeared first on Pro Music Apps.

Keep Reading


Ok, so this isn’t actually a music making app, but I still think it’s a unique idea to promote an event. At the B-Sides Music Festival in Lucerne, Switzerland tons of audio equipment is connected with cables. If only one of these cables is not plugged in correctly, the loudspeakers remain silent. In AUX B […]

The post AUX B appeared first on Pro Music Apps.

Keep Reading


MiDigenerator Elite – A Midi Performance Arpeggiator Why stumble over step changes when you can modulate entire tracks in performance from your keyboard or iPad? Get off the grid and start performing. From your keyboard, control, generate and modulate your Midi tracks in performance. Fire off multiple permutations of the same arpeggiation to create amazing […]

The post MiDigenerator appeared first on Pro Music Apps.

Keep Reading

Qrates: Funding + Vinyl Pressing Service

QratesVinyl is no longer being a relic for older DJs and audio historians. The platform is making a comeback with artists accompanying digital and CD releases with a limited run of vinyl records. For bigger labels, it is easy to fund the process of pressing a record to vinyl but the task is isn't that easy for independent artists that are looking to put their music onto the retro medium. Qrates is a service that will be launching on April 24th that will make vinyl pressing possible for smaller artists without any money being invested beforehand.

Keep Reading

Dubspot Radio Podcast: Blockhead (NYC) – Exclusive Interview + Selections

For this week’s installment of Dubspot Radio Podcast, we are pleased to have prolific music producer and downtown New York native, Blockhead.


Subscribe to Dubspot Radio Podcast

For the latest Dubspot Radio Podcast, we sat down with prolific hip hop music producer and downtown New York native Blockhead a.k.a. Tony Simon for an exclusive interview and overview of his discography. Tony started as a rapper but found his calling as a beat-maker. He has collaborated extensively and produced beats for critically acclaimed rapper Aesop Rock, and also worked with underground hip hop luminaries like Atmosphere, Murs, and Mike Ladd. As a solo artist, he has released critically acclaimed instrumental albums, including his now classic debut “Music by Cavelight” and the sophomore effort “Downtown Science” on the influential independent imprint Ninja Tune. Many of the tracks in this podcast are mainly solo instrumental works mixed with some newer featuring less familiar rappers. Together they offer a brief look into Blockhead’s work for the past two decades as a solid music producer.

Tony Simon, a.k.a. Blockhead has been making and releasing utterly distinctive, funky, and emotive music for the last two decades. 

Blockhead grew up in downtown New York City. As the son of an artist, surrounded by visual culture, he found that his passion was for music. A fan of a whole range of sounds, especially hip hop, Blockhead steadily built a tremendous collection of tapes and later CDs from innumerable artists, as well as an accumulation of knowledge and know-how. 

After a brief stint as a rapper, he realized his calling was behind the boards and not on the mic – and from there he began to produce beats. Since making that decision, he’s kept pretty busy carving a niche as a sought-after underground beat maker that people call when they want something special. 

Blockhead produced nine tracks on Aesop Rock’s critically acclaimed album “Labor Days.” Additionally he produced half the tracks on Aesop’s follow up EP, “Daylight.” He has also worked with other indie giants Atmosphere, Murs, Mike Ladd, and Illogic. In between, he found time to complete a breakbeat album entitled “Blockhead’s Broke Beats,” with ten hard-hitting instrumental tracks, which released on Mush Records, the US home of cLOUDDEAD.

To understand Blockhead’s Stateside presence and gravitas – look no further than the fact that he has also contributed three tracks (including the first single) for Cage’s “Hell’s Winter” on Def Jux. The other producers on the project are DJ Shadow, El-P, and RJD2. 

All this occurred simultaneously to his debut album on Ninja Tune, “Music By Cavelight.” The album is described as “one of the most fantastically good albums you’re going to hear this year” (Sunday Telegraph) and “a beautiful record” (Metro). Blockhead himself was tipped as “definitely one to watch” (Touch). 
Blockhead returned in 2005 with “Downtime Science,” another set of deep, emotional instrumental hip hop tracks dedicated to the downtown area of Manhattan where he grew up and has lived his entire life. The album encompasses all the attitude, anger, and edginess of the neighborhood and features some melancholy reflections upon failed relationships and the promise of future loves.

In 2009 “The Music Scene,” was released, and with it both critical acclaim and commercial success – launching Blockhead on a global string of headlining dates ranging from Pittsburgh to Poland. He participated in the world famous Zubroffka festival, providing a live score for some of Charlie Chaplin’s earliest films. Blockhead followed this album with “Interludes After Midnight,” further showcasing his development as a solo artist with a unique voice.

2014 brought the launch of “Bells and Whistles,” the latest release from Blockhead and a bold artistic statement, unlike his previous work. According to Blockhead, the naming of the album speaks of emerging trends in music. He is seeking to address “The whole idea of the album is that music has gotten so far away from just being music. I think that whole way of thinking, relating to music and art, in general, is bullshit. I don’t want to use those tactics to distract people or create a buzz that’s separate from my album. I want to be judged purely on the music itself – just well-constructed songs with no frills…thus Bells and Whistles.”

The album unfurls to the listener deliberately, unspooling twisted melodies and building emotions through many of the delicate tricks Blockhead has loaded into his arsenal over the years. He tells us “Some of my favorite moments are the more minimal ones. Like on “Sacrificial Santa,” the ominous beginning really gets a mood across. On “FTW,” the way it builds is exactly how I saw it before making the song. I think, in general, this album shows my slow but steady progression. I’m never going to veer off and start making trap music or dubstep. I feel as though, with my last few albums, I’ve created my own lane, as far as sample based instrumental hip hop.”

Now in 2015, Blockhead charges on! Keep your eyes online as he updates his fans daily through all means of Social Media – whether on his blog Phat Friend, Facebook, Twitter or Instagram. This aspect of his career has become more and more important and isn’t something Blockhead takes lightly. He mentions “I don’t have that thing in me where I feel I’m above just shooting the shit with people. With things like Twitter and Facebook, I’ll respond to most questions. I’d like to think it makes the fans form more of a connection and recognize you as a normal person, as opposed to a foreign being who makes music they like.”

Keep up with Blockhead on Soundcloud, Facebook, Twitter, and on his blog Phat Friend.

SHOW ALERT >> PopGun Presents… Blockhead alongside Mono/Poly, Ellie Herring, and DJ Ryan Rasheed (of Prefuse 73) at The Good Room in Brooklyn on Thursday, April 30th, 2015. Don’t miss it!


Open House in NYC: Sundays 11am | Guided Tour of LA

Ask questions. Watch demos. Test drive workstations.

Visit our New York and Los Angeles locations! Ask our Admissions Counselors in-depth questions about our programs, curriculum and philosophy. Watch live music production and DJ demos, and test drive our student workstations. If you are still trying to decide what you are looking for, stop by one of our Open Houses in NYC or schedule a tour in LA to find out more about the learning process at Dubspot. We can also help with scheduling details and payment options.

Click here to view the embedded video.



The post Dubspot Radio Podcast: Blockhead (NYC) – Exclusive Interview + Selections appeared first on Dubspot Blog.

Keep Reading

Profile: FE Live Audio

Profile: FE Live Audio

Glasgow sound hire company FE Live Audio recently became the first rental firm in Scotland to invest in d&b’s V-Series, but how has it been putting the system to use? Adam Savage finds out. 

The last few months have been pretty busy for Glasgow-based FE Live Audio. Although there will be a number of reasons for the company’s recent good fortune, the addition of a concert-size d&b V-Series system to its inventory has helped a bit. Well, more than a bit.

Taking on a PA like the V-Series is quite something for a firm run by a group of guys still in their mid-20s that has been a specialist in full sound production for less than three years.

So far the rig has been rolled out for a number of high-profile gigs, including headline shows at Glasgow’s Barrowland Ballroom from the likes of Interpol, but perhaps the most interesting use of FE’s latest arrival was not another big-name rock act, but a sold-out two-day country music festival. That’s right – the Scots like a good hoedown, it seems.

Taking place at the city’s Clyde Auditorium, familiarly known as The Armadillo, the Country to Country (C2C) show, which featured performances from Nashville stars Lady Antebellum and Luke Bryan, saw FE opt for a whopping 64-box configuration.

Sounds like overkill for a 3,000-capacity venue primarily used for conferences though, doesn’t it? Not according to managing director Ryan McIlravey, who also filled the role of project manager for C2C.

“The brief was ‘these bands play NFL stadiums in the States’ and they wanted ‘rock ‘n’ roll loud’ in a venue that doesn’t usually do these kind of things,” he explains. “We’ve done that venue before, but not for a show that was 110dB at front of house.

“On paper it does look a bit mental doing 20 a side or whatever, but the vertical coverage was really difficult – it wasn’t so much for output. It [the auditorium] is over three levels, but the top level is very high and steep and there’s an air conditioning duct that runs right across the roof.

“We got a CAD model of the venue and put it into d&b’s prediction software and it turned out we need to throw 45m to hit the back seat in the very top tier; at the same time you had people standing right up to the front of the stage. There was no way to do that without something like the V-Series – it allows you to hit every seat all the way down.”

And there were no major concerns when it came to weight either. “The good thing about the V-Series is that even when you’ve got a massive system like the one we had in The Armadillo, which is about as big as you would go with a PA like that, it was still under 750kg a side,” McIlravey reveals.

Of course, there was more to the setup than just a high-end loudspeaker system – 16 networked D80 amplifiers from the same German manufacturer, along with mixing consoles from Avid, Midas, DiGiCo and Soundcraft, were also supplied.

The choice of processors and in-ear monitors was crucial too, McIlravey notes. “We used Lakes for system processing – it’s on everybody’s rider these days, but it’s also just very good. We put out four LM44s on that show and engineers love it because they can just walk around and tweak things to suit. We had 12 channels of Shure PSM1000. I think we ended up with 42 channels of RF for one of the shows, which was tricky because it’s right next door to the BBC’s headquarters up here.”

New Kids on the Block

Few would dispute the fact that McIlravey and his fellow director Andrew McMillan – both just 25 years of age – and new co-director Andrew Baillie – hardly a seasoned pro-audio veteran himself at 28 – have made impressive progress for such a young crew. What’s more, they’re a versatile bunch.  

“We’ve been doing it since we were 17 and just slowly built it up. We were the first company up here to have the d&b D80 amps, and the first to have the V-Series. We’re a big Nexo user too,” McIlravey says.

“We also handle all touring needs for Frightened Rabbit, Twin Atlantic and Enter Shikari, and do a lot with Travis and Paolo Nutini. In terms of growing the company we’ve found the touring stuff’s actually more important than the one-off shows.”

They may not be able to offer the same level of experience as many of the UK’s other rental houses, but the team believes its newcomer status has allowed it to be clever with gear selection.

“We missed out the analogue era, purely because of our age. We don’t even have an analogue multicore,” jokes McIlravey. “It’s meant we’ve always had the most cutting-edge product up here because others might have the equivalent of what we now have, but 15-20 years ago. It is all great kit, but unfortunately no one asks for it any more. We’ve been lucky enough to embrace digital without having an analogue hangover.

“We offer a high-tech PA with the latest amps and the latest desks, which nobody else up here can. The bands want to pay extra for it – they don’t care what age you are, as long as you’re providing the kit they want. We like our kit to be as high-tech as we can buy.”

As for what the immediate future might hold for them, the FE Live trio are understandably confident of much more touring work and one-off events coming their way, but they also see installations as a serious target area.

McIlravey concludes: “We’ve done a few big d&b installs over in Belfast so we’re going to try to grow that side of the business. We’re not really scared to invest the large sums of money if we’re doing it with the d&b stuff because it holds its value so well.”

Pictured (from left): Andrew McMillan, Andrew Baillie and Ryan McIlravey


Keep Reading

TOP TEN: This week’s most-read articles

TOP TEN: This week's most-read articles

Audio Media International's weekly round-up includes reviews of new products from Mackie and Tascam, as well as stories on Nexo, Sennheiser, Soundcraft, Lake and Electro-Voice's latest launches.

The most-read piece this week, however, came from engineer Wes Maebe, on the topic of Mastered for iTunes.

Take a look at the rest of our news summary...

1. Mastered for iTunes – friend or foe?

Wes Maebe on why his reaction to the arrival of Apple’s MFiT concept was one of excitement, not disapproval.

2. Prolight + Sound: Nexo launches ID Series loudspeakers

InSpace Definition family comprises specialised models for install, touring and AV and custom applications.

3. Review: Mackie DL32R

Strother Bullins puts the next big thing in audio capture and control through its paces, and finds it more than lives up to the hype.

4. Review: Tascam DR-10X

“I need to play with one of those” was Jerry Ibbotson’s initial reaction to the release of this new device, but did it meet expectations?

5. Sennheiser and Apogee collaborate on clip-on mics

ClipMic digital and MKE 2 digital promise superior performance and feature extensive iOS integration.

6. Prolight + Sound: Picture gallery

Take a look at our selection of snaps from last week's event.

7. 'Good Morning Britain' selects Sony DWX systems

Wireless mic solution offers ITV's flagship breakfast TV show 'the reliability and sound quality demanded of national programming.'

8. First install purchase for Soundcraft Vi7000

Already home to a Vi4 and Vi6, Melkweg music and arts centre in Amsterdam was quick to invest in a pair of the new consoles.

9. Prolight + Sound: Lake Controller v6.4 revealed

Upgrade brings recallable EQ overlays, Rational Power Management and more to optimise large systems.

10. Electro-Voice presents portable EKX series

New range of loudspeakers promises 'legendary' EV sound quality and reliability in a lightweight package.

Picture: A rear view of the new ID24t from Nexo

Keep Reading

Blue Hummingbird microphone now available

Blue Hummingbird microphone now available

Blue Microphones has announced the availability of the Hummingbird Class A small-diaphragm microphone.

With a ‘precisely tuned’ diaphragm based on Blue’s B1 capsule, Hummingbird is designed to be ultra-responsive and deliver extended frequency response, suitable for studio and stage use on drum overheads, acoustic guitar, strings, harp, or any other instrument with fast transients and rich overtones. Hummingbird also features an adjustable pivoting head that allows for 180° of rotation.

“With fast transient response, high SPL handling and extended high frequency, Hummingbird is an exceptional small diaphragm microphone. To take it further, we designed the capsule to rotate 180° for easy placement and now you have an undeniable weapon for drum overheads, acoustic guitar, piano and more,” said Tommy Edwards, director of product management at Blue. “Like its avian counterpart, the Hummingbird is compact, able to fit precisely into tight spaces, and can nimbly change positions where others can’t.”

Featuring a pressure gradient cardioid capsule based on Blue’s B1 capsule and a proprietary Class A, fully discrete circuit, Hummingbird promises balanced character with plenty of sparkling high end. With no ICs in the signal path, the mic exhibits ‘maximum detail and the lowest possible noise floor’. The Hummingbird is designed to capture the nuances of a wide range of instruments.

Inspired by the Dragonfly and Mouse microphones, Hummingbird’s 180° pivoting head enables free range of motion for positioning. When using two Hummingbirds as stereo overheads, the 180° rotating head allows an engineer to ‘precisely dial in the stereo field in seconds’.

Hummingbird comes with a road-ready protective carrying case, along with a mic clip and foam windscreen.  Hummingbird is now available at authorised retailers with an MSRP of $299.99.


Keep Reading

This is a unique website which will require a more modern browser to work!

Please upgrade today!