Monday, May 23, 2016
What are the strategies and tactics musicians need in order to get ahead in the new music business? Listen in as Dave Allen shares his thoughts on the music industry. Dave Allen was the bass guitarist for the post-punk band, Gang of Four. He is now co-founder of digital strategy firm Fight, and runs the independent music blog called Pampelmoose
Music marketing with CD Baby president...
Friday, May 20, 2016
From the vantage point of 1977, scarcely more than a decade into the era of the synthesizer, the magnitude of its impact on the world of music remains to be determined. Like any other device, it can have only as much effect as the people who use it have talent. The face of rock and jazz is being transformed by dozens of prominent synthesists whose understanding and application of electronics becomes daily more sophisticated. In contemporary classical music, there is likewise an army of dedicated artists making use of the instrument, though of course their work is heard by fewer people.
The bastions of 19th Century symphonic music have, however, proven more formidable. Although the synthesizer would seem to offer comparatively effortless access to the range of sounds that composers have traditionally required a hundred or more musicians to produce, the synthesists who have so far attempted large-scale electronic realizations of symphonic works can be numbered on the fingers of one hand. Of these few, the one whose work has recently generated the greatest critical acclaim and popular interest, thereby showing how bright the future of electronic orchestration may be, is Isao Tomita.
Moogfest 2016 opens tomorrow, May 19, and it looks as if Moog Music will have a special surprise for us—a new version of the Minimoog Model D.
A sneak preview of Moog's new Minimoog Model D reissue. Sources tell us that it has the same circuit design and parts as the original, but with an external 110/240V power brickk. Modern touches include the ability to respond to and send MIDI notes, but no other MIDI data. There are two new switches in the Controllers section for modulation, and the LFO rate knob has been placed next to the wheels: It is a push-pull knob for the LFO waveform selection.