MiniLab MkII has several small, but no less important updates that make it the professional’s choice. Two of the encoders are also clickable, invaluable for controlling DAW software. Tweak the cutoff and resonance of your filters, adjust the LFO speed and depth in your synths, and alter your effects. Giving you hands-on access to all the parameters of your favorite sounds, with dedicated pre-mapping for the included Ableton Live Lite and Analog Lab Lite software. We can also switch between 2 different internal pad banks, giving you control of a full 16 drum sounds or audio clips. The pads also feature RGB backlighting to help you clearly identify whether you’re launching clips in Live, triggering drum sounds, or tweaking presets in Analog Lab. The all-new pads are velocity and pressure sensitive which will give your drums a great, dynamic feel. The high quality slim-keys feature a mechanical action which is comfortable to play, while still being durable enough to withstand life on the road. The focal point of any controller, the keyboard is your gateway to discovering exciting new melodies. Beautifully playable mini keys, responsive and durable performance pads, wiggle-free rotary knobs, all wrapped up in a compact, ergonomic, rugged design. Let’s all take a step back and think about a better way to fix the problem.MiniLab MkII is a powerful controller that will open up a new world of sound design, performance, and music production to you.Įvery element of the reinvented MiniLab has been carefully chosen to give you the best experience possible. Sony will beat them to a pulp, then it’s no more soundcloud. If soundcloud doesn’t take down most of the music it takes down. But, getting all up-in-arms at soundcloud doing what it has to do is just not the way to make the change. I personally love it when I see my music has made it into someone’s mix or mash-up. I think it helps spread the music to a wider audience. I think people should be allowed to post DJ mixes and Mash-ups. Literally, within hours the track was available to the public once again. I filled out the very short form explaining why I posted it and should be allowed to continue posting it. The other was on a sample pack demo for a sample pack I was promoting on my site. I was cleaerly at fault here, so I did not dispute the claim. One, was a remix I did that used the original vocals from another track. I personally have had two run-ins with the new auto system at soundcloud. The anger is misdirected at the middle man, when it should be at the old and broken industry model. That’s the system being broken, not soundcloud. Sony owns his music, or some other label. “ As of January 23, 2013, Ultra merged its operations with Sony Music in a deal that brought all of Ultra’s artists, music catalogs and licensing rights into the Sony fold in exchange for Sony’s investment in Ultra and promoting Moxey (who will retain ownership) to the newly established role as president of Sony’s Dance/Electronic Music division under CEO Doug Morris”. The following will even further shed light on what is going on. This is why most of what has been taken down from his page are his official releases. Ultra owns that music, unless he has some strange deal, which I doubt. If you go to Kaskade’s beatport page you will notice that he is almost, if not entirely, signed exclusively with Ultra. If it’s not yours, you can’t post it! Laws, not soundcloud. That goes for your mixes, mash-ups, blends, and whatever the fucks. If you go to Kaskade’s soudcloud, you might notice that all of what is there is DJ mixes and bootleg mash-ups. Apparently, 70% of his music (32 tracks) has been taken and that he expects the rest will go shortly. Just now, in fact, I am reading about Kaskade’s twitter semi-rant. I keep seeing people posting rants about soundcloud’s new content ID system. This is how the music industry has worked for many, many years. Even further, labels usually contract distributors to release the music through various sites, stores, and other outlets. That being said I know that when I sign a contract with a label that music is ostensibly and effectively theirs. I am not formally trained in music business law or copyright law.
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