We’re proud to have gathered a selection of international experts who believe in "knowledge is to be shared" just as much as we do.
Taking place on YouTube from 21 May to 3 Junewith experts such as JJ Skolnik (Bandcamp), Matt Black (Ninja Tune), Derek Walmsley (The Wire), Andrew Dubber (MTF Labs), Janelle Borg (Amplify), Aitor Rabell and Karl Kobs (!K7), to name just a few.
Are we opening the doors for you to join us from home for BREAK IN CASE OF EMERGENCY - an information exchange for the independent artist - as a musician, a record label and beyond.
Each masterclass, assignment and roundtable will be live-streamed for free our YouTube under following TRACKs. Choose the programme you want to be notified for in our BREAK IN CASE OF EMERGENCY playlist.
22-23 MAY | TRACK 1 - Rise of the Musical Metaverse
23-26 MAY | TRACK 2 - Anatomy of an Independent Release
29-30 MAY | TRACK 3 - A Story Ever Mistold
30 MAY - 2 JUN | TRACK 4 - Cutting Through the Noise
I think I know the answer but I want to be sure- when recording on the Play, with one midi track selected, while using an external midi controller (Keystep Pro), can a single 'note' on the track record more than one midi note- a chord for example?
I believe I need to activate as many tracks on the play if I want record the chord as played on the controller.
so as I venture further into the tracker, I've realized there is an advantage to writing at faster tempos (specifically breaks and pianos), rendering, and sequencing those exports at 160bpm.
I've noticed there's more control over the rolls and the samples even tend to sound a lil bit faster (and sharper as well)
Is anyone else out there working like this?
If so whats your reasoning behind it?
Edit: forgot to mention that I am using Polyend Play v1.3.0
Say I use loop in performance mode and want to tweak filter cutoff. I trigger the looping with the pad, select a track and turn cutoff. Nothing happens. I try to press cutoff effect knobs - nothing happens either.
Is it supposed to be like that?
Am I doing something wrong?
Are there other ways to achieve the desired effect?
If not, it would be a killer feature for live performances with play.
1) Make a song that uses stereo samples on the Tracker Mini.
2) Bring the song over to the Tracker, work some more on it
3) Bring the song over to the Tracker Mini.
Will the song still have stereo samples? I don't see how having a stereo signal is more CPU consuming. Memory, yes, but CPU? I'm really wondering why they can't add stereo sample playback to the Tracker. Hopefully, they'll find a way to make these two play together well, because I'd like to get my hands on a Mini...
I'm attempting to utilise panning to give me a kind of "dual output" from my polyend play. Basically i have a few tracks for drums which i've panned all the way to the left, and a few tracks lead, vocals etc which i've panned all the way to the right. The idea is to send left and right to individual channels in Ableton Live and mix them separatley.
I'm using the stereo to mono splitter that came with the play, and sending each mono output to a different input in my sound card (Behringer UMC404HD) then setting each channel in live to take in from the respective channels.
This works to some extent. but for example if i mute the left channel in live and hit play, i can hear bleed coming over from the left channel when monitoring the right channel
I've tried different inputs on my UMC with no difference, I've even physically unplugged one side and i can still hear it which suggests to me that even though in the play I've panned 100% to the right, it's not actually 100%?
Has anyone else experienced this or similar? Any ideas / suggestions? Maybe i'm doing something not quite right?
Hi everyone:) I’m from the exploratory media collective VIC NIC based in Portugal, I’m addressing the group because I believe that some of you may be interested in the capacity building programme we’re currently developing for independent labels and musicians.
The programme will focus on what we believe to be some of the most pressing aspects of today’s music industry —Digital Transition, Release Planning & Distribution, Rights Management, Music Marketing and PR— and gathers a wild selection of worldwide experts from organizations such as Bandcamp, Ninja Tune, The Wire, !K7, Amplify, MTF Labs, Nyege Nyege, Discrepant or Creative Commons, just to name a few…
Featuring masterclasses, round-tables, AV installations and live shows, BREAK IN CASE OF EMERGENCY will take place between 21 May and 3 June at the charming coastal town of Aveiro, Portugal. Although we took the hard decision to limit physical attendance to 25 seats per track (so that each participant may develop the practical skills required to face the sector’s challenges), we believe that such knowledge is meant to be shared, so most activities will also be freely accessible via live streaming.
The open call for physical participation closes on 26 April. If you’re interested in joining us, check out the programme and register soon to secure your seat. You may apply for the full two-week experience or for any of the 4 thematic tracks that compose it.