WWDC 2014 Keynote LEAKED

9:00am – Tim Cook onstage, goes over great sales numbers

9:05am – Tim Cook brings entire executive staff of Apple onstage to apologize for Garageband 10

9:10am – Phil Schiller onstage, INTRODUCING GarageBand 11 – Non-suck edition.  Features include:

  • Track effects
  • Restored/enhanced Podcasting & video tools, including editing ability
  • Smart instrument controls via MIDI effects – automatic scales, chords & strum patterns
  • Library of popular chord progressions for use with Smart instruments
  • Pattern generators ala iOS GarageBand
  • Less embarrassing Drummer tracks – stupid shirtless Jesse is removed, replaced with physical modeled John Bonham
  • Smart effects modularized and available on any instrument
  • Wood panels replaced, changed to more environmentally friendly Bamboo

9:30am – INTRODUCING iOS 8; main feature is support for new GarageBand

9:35am – INTRODUCING OSX 10.10 “General Sherman” – main feature = wood paneling on all OSX system windows, ReWire support for Finder, Textedit can now be used as a Max/MSP patcher.

9:55am – INTRODUCING iWatch – includes tap to set BPM in new non-suck GarageBand.  No other features ready for demo.

10:00am – INTRODUCING new 44″ AppleTV – includes actual wood side panels, automatically plays audio from new non-suck GarageBand.  No other features ready for demo.

10:15am – Jony Ive onstage INTRODUCING “GarageBand SHOVE”, a new MIDI controller for GarageBand.  Includes actual wood side panels, support for Smart instruments, whammy bar, volume can be set to 11 (applause point/laughs)

10:30am – Tim Cook returns to stage, thanks audience end of keynote.

10:45am – demos of GB SHOVE and GB11 (non-suck edition) in the press area

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In defense of the iPad

John Walden, for Sound on Sound:

Of course, instead of an iPad, today’s aspiring music technology junkies could buy a computer-based system. Whatever route you take, there is still a bunch of other ‘stuff’ (mics, headphones, speakers, software) you have to acquire alongside the computing platform itself and I’d absolutely agree that the laptop (or desktop) system is likely to be more powerful than the iPad. That said, I love my mobile iPad-based music workstation and, despite its more modest grunt, it’s still a capable device for crunching zeros and ones.

However, price and power aside, lots of today’s aspiring musicians have bought into mobile devices for other reasons. For them, and for their overall IT needs, it is simply their computing platform of choice. The fact that it can do music technology is, for many, a bonus, but one they can happily exploit with relatively low additional costs for software.

The last part is tricky for schools.  For many aspiring musicians “the fact that it can do music technology” is simply not enough.  They want to “do music technology” the way the pros do, and that’s with “computer-based systems” (probably meaning laptop or desktop computers – technically stomp boxes are computer-based systems).

But yeah – when you sit back and think about it it’s pretty amazing that you can just plug a guitar into your phone and lay down tracks.  The world is crazy.

 

Hyperdub 10.1

Got my hands on this great compilation today.  If you want a handle on where earnest electronic music is headed outside of the club bangers and brostep, this is required listening.

From the Pitchfork review:

Dance music label comps serve a dual purpose: 1) provide an accessible way for non-collectors to obtain material that might’ve received limited release; 2) offer labels a way to define their legacy or current position in the music landscape. 10.1 fulfills the first function simply by existing, and effectively flips two middle fingers towards the second.

Very true.  My only gripe is that Laurel Halo isn’t on this compilation – big omission in my books.

For me, Hyperdub and Ghostly are filling the void that Astralwerks and Warp did in the 90′s – releasing truly innovative new music, signing singularly unique artists, and forgetting the rest.

DJ Rashad – Let it Go

Hello – I’m back after an extended absence involving a big project I’ll be taking the wraps off of soon.

In the meantime, enjoy some DJ Rashad – respectfully posted after his sudden and tragic death last month.  I just discovered Double Cup in January, and his posthumous work is being featured on Hyperdub 10.1, which I can’t wait to get my hands on.

 

Ethan Hein: Everyone Can & Should Be Making Music 

Ethan Hein: Everyone Can & Should Be Making Music

A long treatise, but worth the read.  Some big thoughts that are obvious to too few of us in the Music Ed world:

Not everyone needs to be able to play or appreciate classical music. Maybe people just need to be able to sequence basslines for their hip-hop tracks, or play three-chord rock, or understand a little music theory, or play rumbly ambient one-chord drones. The kids who want to dive deeper and move on to more challenging material can still do so. If everyone else is engaged actively with music, the pros will find they’ll have a much bigger and more enthusiastic audience. And maybe America will be a little less emotionally barren.

 And also:

If we want music not to be “dumbed down” we need to be honest about where sophistication lies. If you want to learn about functional tonal harmony, by all means go to the classics. If you want to learn about rhythm, go to Africa, the Caribbean, India, Indonesia and American dance music. If you want to learn about timbre and space, go to electronica and hip-hop. Pretending that all the answers lie in scores written by men in powdered wigs is the real dumbing down of the music curriculum.

 What I don’t get is why there aren’t more people getting out there and saying these things.  What worries me is people my (and Ethan’s) age still bristling at these ideas.

The problem is not how they play. It’s what they play.

Slightly off topic, but a good critique of the school-grade band/choir/orchestra-music publisher industrial complex :

It was a nice enough, if completely unmemorable, piece. But why, I kept thinking, couldn’t they sing a real Elizabethan madrigal? Or how about a Beatles song? Or anything at all that has inspired and touched and sent shivers down the spine the way great art does?

Also:

If high-school English teachers stopped assigning Shakespeare and Faulkner and instead gave their students the winner of the 1991 Iowa English teachers’ novel-writing contest to read, I think we’d know where to tell them to get off.

via The Washington Post

Music Research: Drum and Bass beat detection at McGill

Who says music researchers are stodgy?  Some interesting new research going on at McGill that could someday work to improve beat detection in all kinds of music software:

An essential first step in understanding how various producers uniquely use percussion, melody, and harmony in their tracks is downbeat detection (to find the first beat of every measure). We’ve developed a style-specific method of downbeat detection catered to Hardcore, Jungle, and Drum and Bass (HJDB) by combining multiple forms of metrical information: low-frequency onset detection; beat tracking; and a regression model (SVR) trained on the timbre and sequence order of breakbeats. In a recent evaluation using 206 HJDB tracks, we demonstrate superior accuracy of our style-specific method over four general downbeat detection algorithms (including two commercial algorithms).

Read the rest at Breakscience.

Headline of the day

Pro Tools 11 Announced: Do we Care?

We’re certainly not saying there aren’t any dance producers who use Pro Tools, but, in comparison to the likes of Logic, Ableton Live, Cubase, FL Studio and Reason, the size of Pro Tools’ dance music user-base is negligible. Version 11 doesn’t look like turning that situation around.   What do you think? Is Pro Tools relevant to dance music?

No.

Via Attack Magazine