#Percussion Software

[ariyan24]

Toontrack – Superior Drummer 3 Complete Download

Toontrack Superior Drummer 3 Complete is a state-of-the-art virtual drum software that redefines the world of drum production. With unparalleled realism, versatility, and an extensive library of meticulously recorded drum samples, it's an indispensable tool for musicians, producers, and sound engineers.

This comprehensive package offers a wide range of drum sounds, from classic acoustic kits to modern electronic beats, all captured with exceptional detail. Superior Drummer 3 Complete boasts an intuitive user interface that allows for easy drum kit customization and fine-tuning, giving you complete control over every aspect of your drum tracks. Its powerful sound shaping tools and integrated audio-to-MIDI conversion make it a creative powerhouse for crafting drum parts that perfectly complement your music.

Whether you're creating rock, pop, jazz, metal, or any other genre, Superior Drummer 3 Complete's extensive sound library and advanced features will help you achieve studio-quality drum tracks with ease. It's a must-have for anyone looking to elevate their music production to the next level.

[badolmen]

‘oooo printers are so mean and scary’ rip to you but I’m built different. my printer eats oats from my hand. the printer at work lets me print double sided papers without so much as a whinny. don’t get me started on the office copy machine we have a bond you couldn’t comprehend.

[svnmouth]

the worst part about technology is when the problem you have is unknown to wider internet searches and the problems that sound similar are not actually that similar.

[brevemusicstudios]

7 Best Percussion VSTs for Music Producers (2023)

Best Percussion VSTsToontrack Superior Drummer 3Getgood DrumsXLN Audio Addictive Drums 2Toontrack EZdrummer 2CinePerc (Cinesamples)HZ Percussion (Spitfire Audio)Berlin Percussion (Orchestral Tools) ConclusionAdditional Reading Best Percussion VSTs Looking for the best percussion VSTs? Here are seven of the most popular percussion VSTs that every music producer should consider: Toontrack…

[steambot-shenanigans]

I’m making a post about some fanbots I haven’t discussed much on here!

I made them originally so I could have more characters for the spg rp server I was on, but I would like to revisit them sometime.

Basically, they are 3 yellow matter bots created by the direct descendants of Rex Marksley. For the purposes of this, yellow matter represents time. Here’s a lore dump about the three of them!

The first bot to be built, representing the past, is Milo Samuel Marksley (Milo coming for the greek word for speak, and Samuel coming from Samuel Morse). He was invented in 1850 by Roy Marksley, the son of the legendary gunslinger himself, who was inspired by the telegraph. It is a very old bot and is very worn down. They keep getting more rusted and straight up loosing parts.

It was built before voicebox technology, so it can only communicate outwardly through the beeps of morse code. Its younger siblings worry that one day it will get so worm down they will stop working alltogether. Its appearance is very rough, having no mouth, or exterior plating, so their simplistic mechanical insides are on display, aside from a few places. Their clothes are very much outdated, it breaks down frequently, and is generally fairly slow. Despite that, they still manage to keep the peace between its bickering siblings.

Its antenna is centered, coming out of the back of it’s head and going through its top-hat. It is curled at the end and has a small ball at its point. It plays percussion (mostly drums and piano).

In December 1906, a second bot was invented by Roy’s youngest daughter, Ray Marksley, inspired by the existence of the radio. Named Echo Reginald Marksley, this bot has stayed in much the same condition as when he was first built. (Echo comes from the greek word for sound, and Reginald comes from the first name of the violinist who played the first song to be broadcast on the radio- O Holy Night).

He doesn’t upgrade well, as his chassis will accept nothing but identical parts and his systems reject any software updates, much to his dismay. He hasn’t gotten any new malfunctions and is a pretty durable and consistent bot. He is most at home making radio broadcasts, as he knows his best feature is his voice. It’s low, velvety and melodious, despite the slight staticky quality that worsens when he is feeling strong emotions. He tends to act confident, composed, and a bit flirtatious, which is how he naturally is on the radio, but is less natural and more facade when talking to people face to face. The biggest hit to his confidence is his physical appearance, as his inventor, Ray, cared more for function than form. So while he was painstakingly programmed with intellect, creativity, great memory storage, and an extensive vocabulary, and the best voice possible for his purpose as a radio bot, his exterior was not afforded the same care. His body is fine when covered in clothing (which it almost always is), but his face is harder to hide. It’s asymmetrical, and the features are not quite right, looking almost more like a radio than a human face in such a way that puts him squarely in the uncanny valley. He once had a listener who fell in love with him because of his voice, and then quickly fell out of love and ran away when he saw the bot’s face.

Because he is quicker and more charismatic than his older sibling, and more experienced than his younger sister, He generally considers himself the leader of the siblings, both in taking care of them, and in matters of the band they are in. His younger sister takes issue with this. If you think he’s abnormally flirtatious normally, you should see how mushy he gets when he genuinely falls in love with someone! Echo has one antenna above his left audio receptor (which really looks nothing like an ear). It can fold down across his head, or retract and extend as needed to broadcast radio signals remarkably far considering he’s not as tall as a broadcast tower. He does occasionally climb things to get better signal if he’s trying to communicate with someone far away.

In 1941, Ray’s eldest and only daughter Rue Marksley goes on to complete the trio with Cathode Ray Marksley. (Cathode comes from the cathode ray tubes original tvs were built with and Ray was her grandmother’s name).

Cathode, or Cathy as everyone calls her is inspired by a tv, and as such has one for a head, her screen almost always showing her pretty face. Rue had wanted to make Cathy since 1930 when she was a little girl and found out about TVs, but due to not being old enough, and the Great Depression, it had to wait. When first built, people didn’t understand why Rue would build a feminine robot, and so Cathy presented as male for a while, about until the early 2000s. Cathy is stylish and modern, always getting their current caretaker to upgrade her with the latest things, whether its color television, more modern displays, more pixels, or a flatter screen. Beyond her chassis, she also cares about the clothes she wears. Though her siblings usually always wear the same thing every day, Cathy is constantly changing her style based on what’s trendy, and she is not stopped by what gender clothes are associated with.

Being the youngest and being spoiled with upgrades and shopping trips has caused her to be a bit bratty and prideful, but she still cares for her siblings even though she can’t go a day without getting into squabbles with Echo. She’s quite flirtatious and even if she complains a lot, she will still get the job done if it’s something that needs doing or is for a friend. She plays electric guitar, rhythm guitar, saxophone, and trumpet. Her antennae are two classic bunny-ear tv antennae that she kept around despite her upgrades so she could still transmit and receive radio signals from her siblings.

The Marksley bots have a radio/video show together of playing music, a combination of old and new, covers and original songs. They mostly live off their family’s fortune, as they aren’t incredibly well known, and they’re not affiliated with the Marksley Weapons Company (though they could be if they wanted to).

Also in case you were wondering, Cathy is a lesbian, Echo is bi, polyamorous and asexual, and Milo is aroace and agender

[elliespectacular]

Hey there! I know you're probably very tired of talking about Sammich on Parole by now but I was wondering whether you happened to know if there was ever an extended version of the dubstep section, whether fan made or created by yourself

The dubstep-sounding track (where Valjean is wobbling and the colors change) was unfortunately made by someone who was later credibly accused of being a child predator, so while technically there is an extended version of it that exists I will never promote it. That's also why the music is replaced in the reanimated version.

The part where Javert and Valjean sing over some beats was made by me using default FL Studio percussion. Very quick-and-dirty and anybody familiar with the software can tell it was a practically-no-effort mix. Same with the reanimated version, though slightly more sophisticated since I've learned a couple things over the past decade! I didn't make an extended version and I don't plan to. I'm not aware of any fan-made ones either, but ultimately it's just Look Down quantized and played over some stock beats so someone could easily make it if they wanted.

[randomvarious]

Next Evidence - “Dune” Stockholm Mix Sessions 2 by Jesper Dahlbäck Song released in 1999. Mix released in 2000. Deep House

It’s kinda strange how you can’t find a proper bio about this French deep house duo anywhere. You’d think that when an enormous major label like Capitol/EMI puts out someone’s album, it’d help to generate some kind of fanfare for the artist, but it doesn’t really appear to have done so in the case of Next Evidence; at least not to the point where some professional music writer publishes a few sentences online about what the duo does and where they’re from. All we really have to go on here is a poorly written, unverified thing from some last.fm user. Crazy.

But allow me to piece together a narrative here that differs slightly from that last.fm entry. Next Evidence was made up of Maxime Cohen and Michael Tordjman. In ‘97, while they were both in their mid-20s, the pair put out their debut record, and in '98, they started their own small record label, Basic Recordings, which ended up releasing material from a handful of house talents, including Julien Jabre and Dennis Ferrer.

The following year, with five releases solidly under their belt as a duo, Next Evidence put out an EP called Sands on the Paris-based Versatile Records. And it’s on that little EP that you’ll find a deep house banger of theirs called “Dune.”

Now, what appears to have sonically set Next Evidence apart from most of their fellow deep house peers is that they had a special affinity for African percussion. While most deep house makers were just using standard drum machines or software to construct their backbeats, these guys were on some different shit, making sure that just the basest parts of their own productions were unique enough to catch and then captivate one’s ear. And that approach, when it comes to just the music itself, will definitely give you a leg up on your competition, because at jump, when all you’ve really introduced is your drums, you’re already putting out something that doesn’t sound like most of what else is out there, and your tune’s barely even gotten started yet! And that’s not to say that others weren’t also using African percussion in their deep house at the time, but it definitely wasn’t nearly as commonplace as other methods of crafting a backbeat.

So, next, you add some space-dubby synth-work to the track, and then by making some slight alterations here and there, you can just coast on that combo for as long as you’d like and you’ll still have a mighty fine track, right? Well, yeah, you could do that, but Next Evidence had other ideas, because just as you really start to sink yourself into this groove for the long haul, they decide to unexpectedly seep in some fantastically sex-wet jazz sax, courtesy of some French dude named Denis Guivarc'h, who’d apparently been lending his talents to records for years before this one and still does to this day. He’s doesn’t appear to have ever released anything on his own, but you can hear his exploits on a sizeable chunk of releases that have been coming out since the early 90s.

And then after Guivarc'h finishes his part, a new top layer of percussion suddenly arrives, courtesy of a guy named Nicolas Krassilchik, who provides an awesome solo on timbales, further enhancing this experience even more. According to Discogs, this was only Krassilchik’s second-ever appearance on wax, but it sure as shit doesn’t sound like it, because his contribution here is simply electric. And Krassilchik is another guy who’s never released anything on his own either, although he was a member of a group called 26 Pinel, who ended up putting out a couple albums in the mid-2000s.

This fully-packed track is amazing. Like, I would’ve totally dug it if it was just only made up of those drums and synths; it was that good already. But then Cohen and Tordjman decide to bring in those back-to-back sax and timbales solos, and the song just ascends to another plane 😌. 

What a superb tune from this duo who you can barely find anything about online, even though they’ve had a major label album release!

[thornsofthefuture]

an interview with witchita — a talk about underground music, anxiety and corruption

today's thorns of the future guest is witchita, once an electronic/witch house artist, now a latin urbano artist from mexico. witchita has been in the scene since 2019, when he released his first ever EP called "untitled" through distrokid. the songs from the EP could be described as energetic, with a dose of experimentality.

[this interview includes strong language and possibly triggering content. viewer discretion is advised.]

thorns of the future: what was the first song you've ever made?

witchita: Witchita from my first EP, named "Untitled" I wanted it to sound like "Baptism" by Crystal Castles, obviously it doesn't resemble that song that much due to lack of expertise at that point, but I do like that the first song I ever produced did ended up in a official release of mine, brings a lot of memories and transports me to that time when I first started learning Ableton, and what's mixing/mastering.

thorns of the future: what are some artists that you really like?

witchita: Crystal Castles, Skrillex, Playboy Carti, Yung Lean, Noisia, Dillom, Snow Strippers, 100 gecs, are like some "big names" I tend to always listen to underground and local projects to know what's really happening in the scenes I'm interested. As a fun fact, the last album I've recently listened is "1" by "estratosfera" from Argentina, I've also recently listened to a band called "Garbage People" they're like "garage rock?" sounded cool too.

thorns of the future: tell us about your craziest live show experience.

witchita: I had a show in Villahermosa, in my home state "Tabasco" in mid 2023, that was one of the first time, playing a couple of new songs, and the response to them from the audience was amazing, I saw everybody connecting and enjoying themselves, at least this was crazy for me, and also hearing the feedback from them at the end was super uplifting, I know this isn't very "crazy" lol but it was for me.

thorns of the future: do you have any new planned releases?

witchita: Yes, there's three songs for upcoming releases, one is called "Olas de un ayer" produced by a friend called Rodrigo, that's a "nostalgic" song about my teenage years. I have another one at the moment called "Por Dentro" produced by Trillfox, that's resembles my anxiety and dumb ways to deal with it. The third one, doesn't have a name yet, but it's a "hoodtrap", that's more on some gansta shit, produced by me, and co produced by razorz.

thorns of the future: tell us about the riskiest or the dumbest thing you've ever done.

witchita: Trusting the wrong people back in 2018 led me to being in a vulnerable situation, caused me to not have any money for basic needs, damaged relationships with friends and family, not having a stable living situation, I had to crash friends couches, all of this while I was student, luckily enough I hustled enough to get out of that situation with call center jobs and side businesses and I'm okay since late 2020, shit was awful. When I released "untitled" in 2019 I thought I was going to die any day.

thorns of the future: if you could resolve one major problem on earth, what would it be?

witchita: War. I'm in awe that we're getting a genocide basically being streamed in front of our eyes, and no one's doing shit to stop it. I'm as dumb as the next guy about these topics, but I think bombing children is just wrong and evil. Although I don't think this will ever be resolved, we will see wars until the sun explodes.

thorns of the future: what's your favourite song that you produced?

witchita: HUMX, my latest single at the moment, it's a very simple beat that combines those Witch House elements with a Jersey and urban percussions. I've gotten feedback from listeners that this one's their favourite song of mine.

thorns of the future: what software do you use to make your music?

witchita: Ableton and I will never leave it, great for producing, great for playing live, my favourite producers use it, but to each it's own, FL Studio, Logic, even if you only have Bandlab, you can make great music, the goal is to have the purpose to create.

thorns of the future: what's the artist you'd love to collaborate with?

witchita: Like, DREAM collab, shit, Skrillex, 100gecs, besides that, I'm really almost open to collaborate with any artist that it's "outside" the box, that might have some cool or fresh sounds going on.

thorns of the future: what's the artist you'd never like to collaborate with?

witchita: I wouldn't like to collaborate with artists that don't want try to make things a bit differently or that their shit doesn't sound authentic, type beat type of crowd, that make songs like is a recipe, like making 2001's pop punk exactly as it sounded in effing 2001.

thorns of the future: how did you come up with the name for your project?

witchita: The project used to be under the name "Cry Horror" but I started to feel less identified overtime with that name, razorz (aka EPILEPTICS) suggested me to use the name of my first track for the new project name when I started really getting into more urban and hyperpop influence, he also pushed me to really dive in, into producing these type of genres more.

thorns of the future: what is your song "V" about?

witchita: V is a song about how we're all corrupted, it's in our nature, that you shouldn't trust your governments and police.

thorns of the future: tell us about your hobbies.

witchita: I'm always listening to music, or try to educate myself more about the craft, I don't consider it a hobby, but a passion though. I really enjoy watching films, I wish I could draw better, since I believe is a great way to express youself artistically, I really like cooking as well.

thorns of the future: what's your biggest regret?

witchita: I wish I started taking this music shit more seriosuly earlier, when I was young there was a lot of scammy producers that didn't even finished your songs, or delivered super late. I wish I could started recroding and producing myself since I was a teen. I did write songs there but they're lost in my mind or in some lazy ass's PC.

thorns of the future: tell us about your biggest wish when it comes to your music.

witchita: I hope to drop music until I pass, my biggest wish is to keep trying to innovate, to make better songs and to my music to find it's audience, so it can fulfill it's purpose.

we would like to thank witchita for answering all of our questions. we really appreciate you. that's all for now.

images & videos: witchita

spotify:

https://open.spotify.com/artist/4EEA2IvXRTLbllO4FvM0sX

instagram:

https://www.instagram.com/witchitamusic/

hyperfollow:

https://distrokid.com/hyperfollow/witchita

peace.

[rachaelmayo]

This was a tour de force from 2012 that features several of my DeviantArt friends' Predator characters. It was a trade with the owner of the character placed in the middle, and the harp-like instrument was what she requested that her character play. The rest of the characters got whatever was floating through my head at the time, with a little basic input from the owners.

My character Chaunn is on the left with the toothy wind instrument. Her dad, Khan'nai, plays something like a mandolin. The trio on percussion are three boys with whom I'd worked on a couple of different art trades apiece, so I knew their characters pretty well (and yes, the drums, tambourine, and maracas fit their personalities). The lady on the lower right was a hard call, but said she wanted a horn of some kind. The less colorful players in the background are just fill-in characters.

The fuzzy beast sitting at the central character's feet is from my own headcanon. It's called a pfaukal, and yes, the similarity to a certain Yautja swear-word is deliberate. It's something like cockatoo software running on housecat hardware.

This is a fairly large image at about about 15x20 inches. I used Prismacolor pencils over an ink drawing and watercolor wash. I think it's one of my better efforts, and I'm still proud of it more than ten years later.

[thumpypuppy]

how do you usually come up with melodies n stuff? also what program did you use to make the isat soundtrack? :-)

Oh my gosh our first ask!

I (Lindar) have a few different ways I do it.

The title theme was originally written on a Teenage Engineering Pocket Operator PO-28. Just a stroke of inspiration, I guess? Sometimes it helps to sit down with an instrument and see what works, and different instruments lend themselves to different ways of thinking about music and melody, so I try to switch it up a lot.

Another way I tend to do it is to find an interesting chord progression and then let the melody emerge from that pattern, which can be a little frustrating sometimes, but has yielded some interesting results. Honestly I've been writing music for over two decades, and the process can be a bit arcane at times having amassed a whole host of different techniques over the years, but the years of experience is not required to make something good and catchy. At the end of the day I think my favorite way to test the viability of a piece of music as game audio is to play it for someone and then see if they start humming it to themself some time later. Hummable music means it's catchy, and that's what you're after, isn't it?

As for working with my other musicians, here are some things I've observed:

Alice is very methodical in her approach. She sits down at her DX7 with her headphones on and will try things and then iterate upon them until she is satisfied, and then will write everything in a sheet music notation software and send me a midi file when she's done. She's a classically trained violinist, comes from a family of jazz musicians, and is a big fan of progressive rock, so a lot of that influences the way she approaches music.

Sadie is also a jazz musician and former orchestra performer, she went to school for it, and honestly it can be incredible to watch her work, because she will simply pick up any instrument and immediately improvise something catchy. She's had several bands, she's been composing for years, and it can be magical watching her work. (She is currently in a band called Dirty Twenties, and you can find her solo work as "Sadie Greyduck" on most streaming platforms.)

Sandra… well Sandra likes punk rock and metal. She has done some of her own work, and we definitely have a similar approach to writing music, but she can be very scattershot in her approach. Primarily she does percussion for the studio, but her constant leaning over my shoulder definitely influences things, and she's the voice of reason when I have the tendency to over-compose.

As far as software is concerned, the studio runs Ableton Live with a host of VSTs that craft the sound we have, and a handful of live instruments as well. Some of the more notable things you've heard in "In Stars and Time" have been Native Instruments MASSIVE, Spitfire Audio Albion ONE, Toontrack Superior Drummer 2 (with the Metal Foundry pack), and our Ibanez 8-string guitar. If you're interested in all of the gear and plugins we have I'd be happy to do a separate post with a rundown of everything.

Thank you so much for sending us our first ask! I hope that answers your question! 😅👍💙

[experimentik]

Experimentik #77 / 18.Sep.2024 / chirp crush / Kristina Warren

18. September 2024 / 20:30- (doors 20:00) *no entry during sets

duo: chirp crush Verena Barié - recorders, electronics Sjoerd Leijten - electric guitar, electronics

solo: Kristina Warren - electronics

FB event ---------------------------------

Das Konzert ist Teil des Monats der zeitgenössischen Musik Berlin der initiative neue musik e.V. / field notes berlin

title photo © Seiji Morimoto

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Das Ensemble chirp.crush - Verena Barié und Sjoerd Leijten - traf sich 2017 in Amsterdam (NL) und kreiert seitdem Klanglandschaften und experimentelle Narrative.

Ausgehend vom Atem als Tonerzeuger gestaltet chirp.crush - zusammen mit Markus Hennes/Stimme - abstrakte Narrative durch vielschichtige elektronische Prozesse und elektronisches Instrumentarium. chirp.crush verstehen sich als Grenzgänger zwischen experimentellem Hörspiel, Radio- und Klangkunst. Das Ensemble wurden durch zwei FEB-Ensemble Stipendien (2021 & 2022) des Musikfonds e.V. gefördert, sowie von der Kunststiftung NRW und dem NRW KULTUR-sekretariat im Rahmen von Aufführungen in LTS4 im Lichtturm Solingen.

Verena Barié (*1994) ist eine weltweit agierende Blockflötistin, Medienkünstlerin, Komponistin und Kuratorin. Nach einem klassischen Bachelorstudium mit Hauptfach Blockflöte absolvierte sie das Masterprogramm Live Electronics des Conservatorium van Amsterdam. Die Blockflöte hat Barié schon früh an die Schnittstellen von Musik, Neuen Medien und Performance-Kunst geführt. Seit Oktober 2019 lebt sie in Köln und ist als Co-Kuratorin am LTK4 – Klangbasierte Künste Köln tätig. Seit 2021 arbeitet Sie im Vorstand der Kölner Gesellschaft für Neue Musik e.V. und gestaltet das kulturelle Leben der Kölner Freien Szene durch musikalisch-künstlerische Veranstaltungen sowie kulturpolitisches Engagement mit. Mit ihrem Projektraum LTS4 in Solingen kreiert sie dialektische Projektreihen mit Medienkunst. Barié ist neben ihrer Solo-Tätigkeit u.a. seit 2017 im Renaissance Doppel-Sextett THE ROYAL WIND MUSIC (NL) und seit 2020 im klangkünstlerischen 1. DEUTSCHEN STROMORCHESTER (DE) zu hören.

Sjoerd Leijten (*1982) ist ein transdisziplinärer Künstler, Komponist und Radiomacher mit einem ausgeprägten Interesse an dissidenten Klängen und Politik. Er arbeitet häufig mit Elektromagnetismus, field recordings, noise, Echtzeitverarbeitung und Open-Source-Software und -Hardware. Seine Werke umfassen Performances, Konzerte, DIY-Instrumente, Installationen, Veröffentlichungen, Filme und Audio. Seine Musik für Kino und Videospiele wurde mehrfach ausgezeichnet. Sjoerd lebt in Antwerpen (BE) und ist Mitinitiator des von Künstler*innen geführten Veranstaltungsortes TOITOIDROME, situiert in Borgerhout. Beim lokalen Untergrundradiosender RADIO CENTRAAL 106.7 FM moderiert er die zweiwöchentliche Radiosendung TRASHKOT zusammen mit dem Künstler JO CAIMO: „Ein ranziges Gewebe aus Geräuschen, Gesprächen und Müll bildet eine wackelige Brücke zwischen Musik und Politik.”

https://www.instagram.com/chirp.crush/

photo © Vesna Faassen

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Kristina Warren (US, 1989) is a Providence-based sound artist whose live performances offer listeners a gentle, restorative environment. Slow analog cycles combine with detailed field grains and room-specific resonance, interweaving the fringes of attention with warm, present volumes. In Spring 2023, Warren was in residence at Vienna’s [AT] MuseumsQuartier/Q21, collaborating with TONSPUR Kunstverein Wien to present a new sound installation, Lavender Lauds, supported by the Fulbright Commission [US]. Warren’s work has previously received support from Interfaces/European University Cyprus, EMS Stockholm, Spektrum (Berlin), Signal Culture (New York/Colorado), the American Composers Forum, and Non-Event (Boston). Warren has collaborated with ensembles including Chartreuse, JACK Quartet, So Percussion, Talea, Yarn/ Wire, and the Merseyside Improvisers Orchestra. Also active as an organizer of new music performances, Warren was the 2022 Artist/Curator-in-Residence at Providence venue The Music Mansion. Recently a Visiting Assistant Professor of Electronic Music & Multimedia (Brown University, 2017-21), Warren holds a PhD in Composition & Computer Technologies (Uni. Virginia, 2017).

photo © James Lastowski

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

[ariyan24]

XLN Audio Addictive Trigger Download

XLN Audio Addictive Trigger is a cutting-edge drum replacement software that revolutionizes the way you manipulate drum sounds. With its intuitive interface and advanced algorithms, Addictive Trigger allows you to seamlessly replace or augment poorly recorded or inconsistent drum tracks, achieving professional-grade results. The software employs Audio Fingerprint technology, analyzing each drum hit to accurately detect its sound characteristics and match it with a vast library of high-quality drum samples.

By downloading XLN Audio Addictive Trigger, you gain access to a wide array of preloaded drum samples, meticulously recorded to cover various musical genres and styles. You can also import your own samples for a personalized touch. The customizable and precise detection settings enable you to tailor the triggering to your specific needs, ensuring a natural and authentic sound. Whether you're a music producer, engineer, or drummer seeking to enhance drum recordings, Addictive Trigger offers a powerful and time-saving solution that significantly elevates your drum production workflow.

[emilyhopebunny]

I'm transferring codename canticum antiquum to Dorico, mainly because from what I've seen of Dorico so far, it does seem to be the better software for preparing parts, which I may need to do soon (though I still haven't heard anything on whether it will be performed this year).

Probably the biggest reason Dorico is better for making parts is because it has been integrating parts into the same file as the score for as long as it's been around. Finale only started doing this in the mid 2000s (I wanna say 2005 or 2006?), when I was in college. I remember before that, you had to export all the parts from the score into their own separate files, and edit each one separately to look presentable, and any change you made to the score after that meant you had to re-export and re-edit all the parts. So I remember being very excited about linked parts when they were introduced. But the whole process is still a bit ungainly, and I can't say I was looking forward to it.

So I'm trying it out in Dorico. I was able to import my Finale score as a music xml file, which worked quite well actually. The percussion parts got messed up, but I know that's mainly because the way I wrote them in Finale was kind of messy, and I kind of wanted a chance to redo them anyway. But I'll get to that later. For right now, I'm separating the woodwinds and brass into separate staves for each player. That's how things are done in Dorico, from what I understand. And then later in the process, you condense it down to the standard score format with 2-3 players on a staff, while maintaining separate parts for each player, and Dorico should automatically generate the labels for who's playing when.

That's what I'm getting used to. There's a lot of things in Dorico that happen automatically or are controlled by broad universal settings, where in Finale you control a lot more of the minutiae of notation yourself. I've gotten very particular about how I like things to look in a score, so ceding control of these details to software algorithms is a bit scary. And when I find something doesn't look how I want it, I have to get used to thinking of what setting I need to tweak instead of how to change this detail directly.

All of this will take some getting used to, but I am coming to like Dorico and its whole notation philosophy, even though it's very different from Finale.

[reedsofintimacy]

How smart are you? You’ve given some hints before but how many degrees do you have? What are you studying? What do you want to do in live professionally and passionately? What’s your purpose career wise?

Also hypothetically would you be open to being your wives employee if she had a really successful company?

I actually don't have any degrees! I'm a nerd and smart but also certainly have my flaws.

For context, I was an honors student all growing up. Always tested in the 99th percentile for state aptitude assessments. I got a 33 on my ACT, did well on a bunch of AP tests and went to a non-ivy-league but prestiguous state school in the top 25% of the incoming class and as a university scholar, in an accelerated chemistry PhD program, and lived in an honors community on campus.

I learned to speak some Chinese, became an instructor for a traditional Korean percussion group, led a bible study, tutored students in organic chemistry, and did excellent in my humanities courses writing on topics like a linguistic study of gender conception in viking-era icelandic society and designing an interventional plan to address youth homelessness in the community.

College was the best 2 years of my life, I adored everything about it but I also completely overloaded myself. Turns out you need more than raw brains for success. I was conflicted between prioritizing my studies vs my faith, and had unadressed adhd and anxiety i wasnt ever aware of and didnt know how to cope with. When my 19 credit hours were drowning me, I couldnt own up to the shame of overwhelm and failure, couldnt look my teachers in the eye and ultimately stopped showing up to class and dropped out.

I'm now back in school with a better understanding of myself, an absense of competing priorities and a lot of experience. Im pursuing working in Radiology doing either CT or MRI. A lot of my friends growing up are finishing their PhD theses and I love discussing them with them, but I myself don't have even an associate's to my name.

Career wise, I originally wanted to be a professor of either Chemistry or Materials Science. I debated majoring in Linguistics or teaching English as a second language but i don't speak anything fluent enough to really do that yet. I've since considered pursuing a career in comedy, as a science communicator and journalist or PIO, as a university student advisor, and taught myself to code to maybe pursue programming.

I love learning. Currently I'm putting the most effort into Chinese classical literature. I've done personal units on nutrition, skincare, fitness, urban planning, economics, and some software like adobe illustrator and game dev with Unity and Godot.

For my professional future, I think I'm for now planning on being a travelling technician in healthcare. It'd give me an opportunity to see lots of different places which is a goal of mine and shouldn't have too many commitments keeping me held in place. Maybe I'll finally get over my fear of casual hookups and become a traveling nurse by day and city-to-city clit servicer by night sampling all sorts of delicious lady bits. Idk. For now I'm just focused on what I'm doing in the moment.

In terms of passions I want time and independence to pursue learning as an autodidact. I'd love to maintain access to university libraries and attend lots of public lectures and symposiums if i could live near enough a big university. I want to read about the things that interest me and someday get over my social anxiety and travel to make friends all over the world with fellow nerds.

In terms of working for my wife of course that would be really sexy I'd love to be my partners doting but slutty assistant 💕 depending on the industry i guess. I think something like insurance or real estate is kind of predatory tbh and wouldnt want to be associated with it. But if I didn't have an issue with it I'd adore being my partners employee. Or even just a supportive house husband or trusted personal assistant ❤️❤️ a role i've always thought I have the potential to be quite good at

[c3s6]

i wanna make a song making software based on rhre SongWriter Studio Chronicles

for now, songwriter studio is currently a proof of concept soundpack for rhre3 using (mostly) sounds made using the "dual" feature on the yamaha ypt-310 keyboard.

so far, here's the first sound, a bell-ish sound using both inst no.153 (sinemrmb) and the dual inst being inst no.414 (altair) with (i wanna sayyyyy) c4 and c5 being played at the same time. i liked how it turned out when I put it through rhre :) here's a small demo of the aforementioned instrument:

i have a percussion clap sound on a usb somewhere that will be added to the pack - i am unsure about drums though as i dont want to reuse samples from the ypt (combining samples are fine though)

If the concept DOES come out of soundpack-only, some of the RH sounds (the ones I use for song-making in rhre3) will be included with the program...

all the rh stuff will be removed with the software if it does get made - play-yan (who is a fav of mine) will be replaced with a bunny!

BONUS!

speaking of random software (and hardware) things!!!! Mapel! basically it was going to be this custom built laptop computer that uses the internals of a vtech baby laptop (specifically the ones with nine keys arranged in a grid)

i still have concept wallpapers in my icloud lol.

for now it's a fictional computer brand.

but if I do make it a reality, SWS will be one of the included software programs :)

(and people can commission me to convert their vtech baby laptop(s) to mapels!)

also late idea before i hit post: the mapels WILL have a personification mode :)

and i have a concept powerpoint for the key arrangements and everything

[bathoarchives]

Behind The Beats: Hookage's Steady Rise To The Top

photo credits: BACKYARDSTORIES BOTSWANA

In the first edition of our interview series, we have hookage, a music producer/beatmaker born and raised in Francistown and Gaborone. He produces a wide variety of genres. The producer says his exposure to different genres( hip-hop, rap, neo-soul, rnb, deep house, etc.) and cultures nurtured his ability to produce different genres.

He has produced for a variety of artists and musicians locally and internationally, but notably, he’s produced for Kaysotheenigma's “Cherry Bomb,” which won 'Best Female Single' at the YAMAs, as well as three songs off her debut album “Fifth Heaven."

How did you come up with the name Hookage?

So i got the name from the anime series, Naruto but i added a twist to it. In the series, the original word is “hokage” and this is the title given to the leader of the specific village . So i added an extra “o” to honestly avoid copyright infringement issues but the meaning behind the name stands because i view my music and audience as my “village” and it’s my responsibility to take care of them.

How did you get into music production?

It started off as me playing music production games on my tablets as a child around the ages from 9 to 13 because i had always had this deep-rooted interest and passion for music but never really knew how to get into making my own stuff. So in grade 8/form 1, i met someone who taught me how to use Fl Studio and so i started making beats in 2017

We really like your ability to blend different genres into one track, who or what would you say has influenced your style of production?

Honestly, it’s an amalgamation of different producers and artists as i take different things from the individually. For example, i love the way Pharell Williams approaches his beats and certain chord progressions, where with The Alchemist, his ability to chop up samples the way he does or even just finding the samples he does is amazing then artists like Smino or JID, who manipulate their voices to sound a certain way whilst also using their voice as percussive instruments is also insane.

One of our favourite tracks by you is Need U, what's the story behind the track,who's on the vocals?

With that song, the whole thing is honestly a different song that didn’t have any drums on it but just vocals, keys and bass. i can’t even remember the original name of the song but i separated the song into those different layers and added drums of my own. I initially wanted to keep it for myself but i knew i had to at least post it

You've worked with numerous artists across different genres,out of all these collaborations which one would you say is your favourite?

I don’t think i can put a finger on my favorite because we all work together but if i had to choose right now, it would have to be spacerover and lucas chubbs

Which artist would you like to work with that you haven't yet?

There are so many artists i really want to work with atm but for now it would have to be K.alahari without a doubt

Before you performed your set for Backyard Stories, they revealed that you learned how to dj with vinyls from your dad, how was the whole process?

So it’s an interesting story because my dad and his brothers are all former Djs but had their own preferred genres hence why i have the variety of genres between house, hiphop, rnb etc. It was mainly my dad teaching me but the whole process of actually using vinyl was hard but i caught on quickly because i never used digital djing software so i had nothing to reference.

So Botswana was recently introduced to the music collective 'Ascension Pleas' and how it came about but, we'd like to hear from your perspective about how you met the others, your music production process and how being part of the group benefits you as hookage?

So as we explain prior, it really was just coincidence because we didn’t really even have a motive to be at UB apart from rehearsals for Pablo%8’s show that week and we then just decided to work on something. In terms of meeting them, i had already known banzai the longest as we already been working since 2021 but i met Lucas Chubbs and spacerover last year, same with briann bc but that we met at UB was the first time me and BC (briann BC) made music together. For the time being, i usually just give them old beats i didn’t have use for but recently we’ve been working hard with the new beats i’ve been making. I usually make a beat then send it to them to see if they feel it then the decision is made whether to use it or not. Me being apart of the group let’s their audiences become aware of who i am and possibly follow me in my journey and on the other hand, it let’s me share my love for music with like minded people who i can consider my friends and that deep love for music is something you can’t share with anyone

A lot of new generation artists and creative platforms have been emerging in Botswana, which one would you say has stood out the most?

I would firstly say you guys because i’ve seen you guys grow so rapidly but it’s because of your authenticity. Other artists that have really caught my eye are borus, chrysus, emo, mantra, magadi. there are so many more but they’re just a few to name

Favourite producer from Botswana?

it would have to be Simba the Indigo, one of the members of K.alahari

Out of all the songs you produced, which one stands out the most to you?

It would have to be some unreleased, song name titled “Honesty” which will feature on my debut album. It might be my best produced song at the moment

What's next for you, Hookage?

I’ve been quietly working on my debut album which is set to drop next year. This album is what I’ve been working on apart from working with other artists, just slowly piecing it together and it’s going to be a great start for me to establish not only as a music producer but an overall musician.

instagram: @hookagesamaa

stream hookage: campsite.bio