I’d like to be honest about this article: it’s not fair. I have a rampantly biased opinion about the following subject and intend to express it fully here. If you happen to have a deep-rooted insecurity about your knob-tweaking skills, then I suggest you stop reading immediately. If not, then by all means, proceed…
I have always hated laptop-jockeys. “What’s a laptop-jockey,” you ask? That legion of “performers” or “bands” or “DJs” who insist that standing behind a laptop onstage has some form of entertainment value. Oh, and DJ’s? Go fuck off. I don’t care enough about you to even think about whatever value you vultures have anymore. I’m shitting on lazy musicians right now, so go piss off. Aaaaand back to the laptop-jockeys… As a fan they bore me and as a musician I find them insulting AND boring. I’ve seen hacks do it and I’ve seen well respected musicians do it and guess what? Every God-damned time IT FUCKING SUCKS. Here’s some news… your computer is BORING. You are BORING. Worst of all… YOU ARE KILLING YOUR OWN MUSIC because YOU ARE LAZY.
This is the second installment of a series of articles detailing how to program tight, effective analog bass lines and some of the best synths for achieving good bass sounds.
This is the second installment in a series for overcoming the newbie blues for setting up a home recording studio. In this article we will expand on prioritizing your studio and getting the most bang for your buck.
It sucks to be a newbie—but there are a lot of ways to play it smart and get the most music value for your money using computer technology, without wasting your time and money.
Subtractive synthesis, something that every newbie to Industrial tries to learn, and many don’t do so well. Here’s a guide that will help you understand all those pretty knobs.
