some highlights from Day 1 at NAMM 2011 some cool people trying out the Peace VE Series Electronic Drums!! Cobus Potgier Jacqueline Cassell
Friday, December 30, 2011
Sunday, December 25, 2011
PM10 10" 2 Way Electronic Drum Amplifier
!±8± PM10 10" 2 Way Electronic Drum Amplifier
Brand : Roland | Rate : 
| Price : Too low to display
Post Date : Dec 25, 2011 19:13:27 | Usually ships in 24 hours
| Price : Too low to displayPost Date : Dec 25, 2011 19:13:27 | Usually ships in 24 hours
Designed as a portable companion for Rolands V-Drums, the new PM-10 is equipped with a 30-watt amplifier and a 10" 2-way coaxial speaker. Its compact design is perfect for small-sized drum kits, such as the TD-3Kit and the TD-6KV. Jam along with your favorite songs by connecting an external CD or MP3 player to the Line In jack. Balance the V-Drums and the external audio with the dedicated volume controls; adjust the tone with the built-in 2-band EQ. Big sound in a small package; 30W, 10" 2-way coaxial speaker Designed specifically for electronic percussion Dedicated EQ section; special V-Drums input Large handle makes it easy to transport Multiple inputs, plus mix input for incorporating other audio sources
- 30W amplifier10", 2-way coaxial speakerDesigned specifically for electronic percussionDedicated EQ sectionSpecial V-Drum inputMultiple inputs, plus mix input for incorporating other audio sources
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Monday, December 19, 2011
Roland TD-4KX2-S - Ultra Compact Pro V-Drum Kit Electronic Drum Kit
!±8± Roland TD-4KX2-S - Ultra Compact Pro V-Drum Kit Electronic Drum Kit
Brand : Roland | Rate : | Price : $1,499.00
Post Date : Dec 19, 2011 04:42:34 | Usually ships in 1-2 business days
| Price : $1,499.00Post Date : Dec 19, 2011 04:42:34 | Usually ships in 1-2 business days
Roland Authorized Dealer - N030273Y
The most affordable V-Compact series from the V-Drums family is also undergoing new upgrades and refinements with a new Kick Pad and V-Cymbals. With its improved playability, the new kits help you maximize your performance and practice time. Get better faster with the built-in Coach and Quick Rec/Play function.
Features (2) PDX-8 Mesh Pads (Snare, Tom 3) (2) PDX-6 Mesh Pads (Tom 1, Tom2) (1) KD-9 Kick Trigger Pad (1) CY-12C V-Cymbal Pad (1) CY-13R V- Cymbal Pad (1) CY-5 V-Cymbal Pad (1) FD-8 Hi-Hat Control PedalBox 2 (MDS-4) This includes the drum set rack, and the clamps and arms for both the pads and cymbals.Box 3 (DWROPAK1) DW Hardware Pak (DWROPAK1) - includes Single pedal (DWCP3000) and Throne (DW3100)
- Mesh heads for snare and toms.
- Three-way triggering for ride (CY-13R).
- Great feel and reliable playability with new mechanics and a cloth-designed bass drum head.
- 1 TD-4 Percussion Sound Module with multi-pin cable harness and module mount.
Thursday, December 15, 2011
TD-9 V-Drum Performance by Michael Shack (2/2)
www.roland.com For drummers who want a state-of-the-art V-Drums kit but an even more cost-effective option, the TD-9K offers all of the features and advantages of the TD-9KX but with rubber tom pads instead of mesh and a dual-trigger ride cymbal.
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Saturday, December 10, 2011
Tuesday, December 6, 2011
Adjusting Hi Hat Controller for Electronic Drums 2: VFD
Here, in the second part of the VPT for Drummies, we get into adjusting the different parts of the Hi Hat cymbals and controller to use a traditional Hi Hat stand. This is a great way to achieve a real feel Hi Hat for drummers that need that extra feature. Here, we're using: Pintech - HHC (Hi Hat Controller) Toontrack - Superior Drummer 2.0 Smartrigger - Hi Hat Cymbals Gibraltar - Hi Hat Stand Thanks again for watching! We will be doing more VPT For Drummies videos to complete this series... so, if you have any requests, please let us know!!! Comment, message us, and SUBSCRIBE!!! -RET Crew
Friday, December 2, 2011
Tuesday, November 29, 2011
Music History - Digital Hardcore - Atari Teenage Riot and Beyond
Digital hardcore can be best described as a mix of punk and electronica. Industrial guitars, shouted and screamed vocals along with high-tempo percussion are common elements of the genre. This sound developed over the course of the early 1990s, mostly in Berlin, Germany.
From its onset, the classic digital hardcore sound was defined by the work of Atari Teenage Riot, their frontman Alec Empire and the record label they formed in 1994, Digital Hardcore Recordings. Highly political lyrics, a sign of punk rock's influence on the genre and distorted drum loops often played at over 200 BPM were common elements in the genre. This style of drum programming would later be taken to an extreme in breakcore, which was heavily influenced by digital hardcore.
In addition to Atari Teenage Riot and related projects, other popular and influential bands of the genre in the 1990s included Cobra Killer and EC8OR.
The turn of the century brought about a number of changes in the scene, among them were the breakup of Atari Teenage Riot and a new creative direction taken by their record label. Numerous other bands, among them Ambassador21, Left Spine Down, Rabbit Junk, Schizoid and The Shizit, as well as record labels including Gangster Toons Industries (France), Praxis (United Kingdom), Cross Fade Enter Tainment (Germany), Drop Bass Network (United States) and Bloody Fist (Australia) have since gained a global following, turning the genre into "an international underground movement," to quote Alec Empire.
Although gear such as the Roland TR-909 was used extensively by early digital hardcore acts such as Atari Teenage Riot, other bands have used a variety of gear including the relatively inexpensive Yamaha SU10, demonstrating that there are no equipment prerequisites in the genre. However, other widely-used gear in the genre includes the Yamaha A-3000 and Akai S1100 samplers, Moog Music MF-102 Moogerfooger and Prodigy and the Roland SH-101 analog synthesizer.
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Saturday, November 26, 2011
How to Buy a Piano (For Those Who Don't Know Where to Start)
With so many different types of pianos to buy, how do you know which one to buy? This article gives an overview of the different types of pianos out there and aims to address the pros and cons with purchasing each type.
The Keyboard
You can pick these up anywhere relatively cheaply. Often you can get them at the drugstore!
Pros:
Light and portable.
Has a lot of cool sounds that can make playing interesting.
Doesn't take up a lot of room.
Relatively inexpensive.
You can play with headphones on so you don't disturb your neighbors.
You don't have to tune it!
You can use it as a midi device to music writing software on your computer.
Great for beginners who don't want to invest too money initially.
Cons:
Often does not have all 88 keys like on a real piano.
Quality of sound isn't as good.
The keys are not weighted like on a real piano. Contrasting volumes (hitting hard on the keys verses playing lightly) is limited as a result.
As one gets more and more advanced at piano, s/he will soon "outgrow" it.
If you live in an area with power failures, this can be a problem.
The Digital Piano
Yamaha, Korg, Roland, Kawai are all good brands.
Pros:
Still not as bulky as a real piano
The keys are more weighted, allowing more freedom of expression when striking the keys.
You don't have to tune it.
Is often more comfortable to sit at than a keyboard, making practicing more enjoyable for long periods of time.
Often have all 88 keys.
Are a good choice for someone who wants the closest thing to a piano, but doesn't have the budget or vice versa.
You can use headphones.
Cons:
You get what you pay for. The more you pay for a digital the better it will feel to your fingers.
It still does not compare to a real piano.
Low end digital pianos often have a "tin can" sound. Really expensive ones (the 00+ range) can have beautiful surround sound, but then, they are more money.
The more advanced you get, this too, will be outgrown. If auditioning for music college someday, don't practice on this.
Acoustic Pianos
Excellent brands are Steinway, Yamaha, Baldwin, Kawai, Bersendorfor. But there are other factors involved in the mechanics of a piano that are out of the manufacturers control, such as how well it had been maintained by a previous owner, if any. Additionally, there are such things as acoustic pianos that are horrible to play - the ones that you can spend hours and hours practicing on and it will never ever let you sound good. In contrast, there are acoustic pianos that can give your fingers a massage as they "melt" into the keyboard. Before buying any acoustic piano, spend time playing a lot of different ones first!
Upright pianos
Pros:
Fully weighted keys for full freedom of expression, especially the subtle ones.
The sound is out of this world!
It is great for practicing for an audition on, because it's the real thing.
It is more comfortable to sit at for long periods of time.
Has all 88 keys.
Some of the newer ones have the option of headphones.
Cons:
They are generally expensive to buy.
Moving is expensive because they are so heavy.
Tuning and repairing can be really annoying and expensive, not matter where you live.
It's big and takes up a lot of room.
Older pianos don't allow headphones.
Grand Pianos:
Pros:
If you want to fill up the whole house with surround sound, this is the daddy of them all.
Fully weighted keys.
Has all 88 keys.
Very comfortable to sit at for long periods of practicing.
Some of them allow headphones.
You can play really really loud.
It's a beautiful piece of furniture.
Cons:
Expensive to buy.
Expensive to move.
Expensive to tune and maintain.
Take up a lot of room.
With any purchase, make sure that you do your research thoroughly in order to make the most informed decision. At the end of the day, you should buy the piano that you want to buy. Buying a piano is a very personal decision, just like wine. There is no right or wrong, just understanding what you want and what your needs are.
Hopefully this article helps you on your quest on how to buy a piano. For more related articles, visit the author's blog at http://pianolessonvancouver.com
Thursday, November 24, 2011
Rhythm and Blues
Rhythm and blues (or R&B) was coined as a musical marketing term in the United States in 1949 by Jerry Wexler at Billboard magazine, and was used to designate upbeat popular music performed by African American artists that combined jazz, gospel, and blues. It replaced the term race music, which was deemed offensive, as well as the Billboard category name "Harlem Hit Parade," in June of 1949, and was initially used to identify the rocking style of music that combined the 12 bar blues format and boogie woogie with a backbeat, later known as rock and roll. In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm," but the words were reversed by Wexler of Atlantic Records, the most aggressive and most dominant label in the R&B field in the early years. By the 1970s, rhythm and blues was being used as a blanket term to describe soul and funk as well. Today, the acronym "R&B" is almost always used instead of "rhythm and blues", and defines the modern version of the soul and funk influenced African-American pop music that originated with the demise of disco in 1980.
Original rhythm and blues
In its first manifestation, rhythm and blues was a predecessor to rock and roll. It was strongly influenced by jazz and jump music as well as black gospel music, and influenced jazz in return (hard bop was the product of the influence of rhythm and blues, blues, and gospel music on bebop) and African tribal beats.
The first rock and roll consisted of rhythm and blues songs like "Rocket 88" and "Shake, Rattle and Roll" making an appearance on the popular music charts as well as the R&B charts. "Whole Lotta Shakin' Goin' On", the first hit by Jerry Lee Lewis was an R&B cover song that made #1 on pop, R&B and country and western charts.
Musicians paid little attention to the distinction between jazz and rhythm and blues, and frequently recorded in both genres. Numerous swing bands (for example, Jay McShann's, Tiny Bradshaw's, and Johnny Otis's) also recorded rhythm and blues. Count Basie had a weekly live rhythm and blues broadcast from Harlem. Even a bebop icon like arranger Tadd Dameron also arranged for Bull Moose Jackson and spent two years as Jackson's pianist after establishing himself in bebop. Most of the studio musicians in R&B were jazz musicians. And it worked in the other direction as well. Many of the musicians on Charlie Mingus's breakthrough jazz recordings were R&B veterans. Lionel Hampton's big band of the early 1940s, which produced the classic recording "Flying Home" (tenor sax solo by Illinois Jacquet) was the breeding ground for many of the bebop legends of the 1950s. Eddie "Cleanhead" Vinson was a one-man fusion, a bebop saxophonist and a blues shouter.
The 1950s was the premier decade for classic rhythm and blues. Overlapping with other genres such as jazz and rock and roll, R&B also developed regional variations. A strong, distinct style straddling the border with blues came out of New Orleans and was based on a rolling piano style first made famous by Professor Longhair. In the late 1950s, Fats Domino hit the national charts with "Blueberry Hill" and "Ain't That a Shame". Other artists who popularized this Louisiana flavor of R&B included Clarence "Frogman" Henry, Frankie Ford, Irma Thomas, The Neville Brothers, and Dr. John.
At the start of their career, The Rolling Stones were essentially an R&B band.
Contemporary R&B
It was not until the 1980s that the term "R&B" regained ordinary usage. During that time, the soul music of James Brown and Sly & the Family Stone had adapted elements from psychedelic music and other styles through the work of performers like George Clinton. Funk also became a major part of disco, a kind of dance pop electronic music. By the early 1980s, however, funk and soul had become sultry and sexually-charged with the work of Prince and others. At that time, the modern style of contemporary R&B came to be a major part of American popular music.
R&B today defines a style of African-American music, originating after the demise of disco in 1980, that combines elements of soul music, funk music, pop music, and (after 1986) hip hop in the form known as contemporary R&B. In this context only the abbreviation "R&B" is used, not the full expression.
Sometimes referred to as "urban contemporary" (the name of the radio format that plays hip hop and R&B music) or "urban pop", contemporary R&B is distinguished by a slick, electronic record production style, drum machine-backed rhythms, and a smooth, lush style of vocal arrangement. Uses of hip hop inspired beats are typical, although the roughness and grit inherent in hip hop are usually reduced and smoothed out.
History
Contemporary R&B singer Mary J. Blige performs on the National Mall during the "NFL Kickoff Live 2003" Concert.With the transition from soul to R&B in the early to mid 1980s, solo singer Luther Vandross and new stars like Prince (Purple Rain) and Michael Jackson (Off the Wall, Thriller) took over, and dominated the primary schools throughout the 1980s. Jackson's Thriller, which repopularized black music with pop audiences after a post-disco backlash among United States mainstream audiences, is the best-selling album of all time worldwide.
Female R&B singers like Whitney Houston and Janet Jackson gained great popularity during the last half of the decade; and Tina Turner, then in her 50s, came back with a series of hits with crossover appeal. Also popular was New Edition, a group of teenagers who served as the prototype for later boy bands such as the New Kids on the Block, The Backstreet Boys, and others.
In 1986, Teddy Riley began producing R&B recordings that included influences from the increasingly popular genre of hip hop music. This combination of R&B style and hip-hop rhythms was termed new jack swing, and artists such as Keith Sweat, Guy, Jodeci, and BellBivDeVoe (featuring former members of New Edition). Another popular, but short-lived group, with more pronounced R&B roots was Levert, whose lead singer, Gerald Levert, was the son of O'Jays lead vocalist Eddie Levert.
In the early 1990s, R&B group Boyz II Men repopularized classic-soul inspired vocal harmony, and several similar groups (among them Shai, Soul for Real, and Dru Hill) would follow in their footsteps. Boyz II Men, and several of their competitors, benefited from lush ballads from producers such as Babyface and Jimmy Jam and Terry Lewis, who brought Michael Jackson's sister Janet Jackson to fame during the late 1980s and early 1990s. As a solo artist, Babyface and contemporaries such as Brian McKnight eschewed prominent hip hop influences, and recorded in a smooth, soft style of R&B termed quiet storm.
In the early 1990s, alternative rock, adult contemporary, and gangsta rap ruled the charts, and R&B artists began adding even more of a rap/hip hop sound to their work. New jack swing had its synthesizer-heavy rhythm tracks replaced by grittier East Coast hip hop inspired backing tracks, resulting in a genre labeled "hip hop soul" by Sean "Puffy" Combs, producer for Mary J. Blige. Blige and other hip hop soul artists such as R. Kelly, Montell Jordan, Brandy, and Aaliyah, more than their slicker new jack swing predecessors, brought hip hop slang, style, and attitudes to R&B music. The subgenre also includes a heavy gospel influence with vocal inflections and sounds. The style became less popular by the end of the 1990s, but later experienced a resurgence. The hip hop soul sound continues to be heard in the work of artists such as Jaheim, Ashanti, Amerie, and Keyshia Cole.
During the mid-1990s, highly successful artists such as Mariah Carey, girl group TLC and the aforementioned Boyz II Men brought contemporary R&B to the mainstream. Boyz II Men and Mariah Carey recorded several Billboard Hot 100 number-one hits, including "One Sweet Day", a collaboration between both acts which became the longest-running number-one hit in Hot 100 history. In addition, both Boyz II Men and TLC released albums in 1994, II and CrazySexyCool, respectively, that sold over ten million copies, earning them diamond certification from the Recording Industry Association of America. Other top-selling R&B artists from this era included singer Toni Braxton, singer/songwriter/producer R. Kelly, and girl group En Vogue.
During the later part of the decade, neo soul, which added a 1970s soul music influence to the hip hop soul blend, arose, led by artists such as D'Angelo, Lauryn Hill, and Maxwell. Several artists, most notably Missy Elliott, further blurred the line between R&B and hip hop by recording in both genres simultaneously.
During the late-1990s and early 2000s, the influence of pop on R&B could be heard in the work of several pop musicians, most notably Jennifer Lopez and the later recordings of *NSYNC and the early recordings of 98 Degrees. *NSYNC's lead singer Justin Timberlake went on to make several solo recordings that showed heavy influences from both R&B and hip hop music. Other pop stars who perform heavily R&B influenced pop music (sometimes referred to as "dirty pop","urban pop", or a modern definition of "hip pop") include Britney Spears, Gwen Stefani, and Pink.
In the United Kingdom, R&B found its way into the UK garage subgenre of 2Step, typified by R&B-style singing accompanied by breakbeat/jungle rhythms. Among the most notable 2Step artists is Craig David, who crossed over to American R&B audiences in the early 2000s.
Present day
By the 2000s, the cross-pollination between R&B and hip hop had increased to the point where, in most cases, the only prominent difference between a record being a hip hop record or an R&B record is whether its vocals are rapped or sung. Mainstream modern R&B has a sound more based on rhythm than hip hop soul had, and lacks the hardcore and soulful urban "grinding" feel on which hip-hop soul relied. That rhythmic element descends from new jack swing. R&B began to focus more on solo artists rather than groups as the 2000s progressed. As of 2005, the most prominent R&B artists include Usher, Beyoncé (formerly of Destiny's Child), and Mariah Carey whose music often blurs the line between contemporary R&B and pop.
Soulful R&B continues to be popular, with artists such as Alicia Keys,John Legend, Toni Braxton and American Idol winner Fantasia showcasing classic influences in their work. Some R&B singers have used elements of Caribbean music in their work, especially dancehall and reggaeton.
Quiet storm, while still existent, is no longer a dominant presence on the pop charts, and is generally confined to urban adult contemporary radio. Most of the prominent quiet storm artists, including Babyface and Gerald Levert, began their careers in the 1980s and 1990s, although newer artists such as Kem also record in the quiet storm style. Its influence can still be seen in singles such as Mariah Carey's "We Belong Together".
In addition, several producers have developed specialized styles of song production. Timbaland, for example, became notable for his hip hop and jungle based syncopated productions in the late-1990s, during which time he produced R&B hits for Aaliyah, Ginuwine, and singer/rapper Missy Elliott. By the end of the decade, Timbaland's influences had shifted R&B songs towards a sound that approximated his own, with slightly less of a hip hop feel. Lil' Jon became famous for a style he termed "crunk & B", deriving its influences from the Southern hip hop subclassification of crunk music. Jon gave his main R&B artist, Ciara, the title of "The First Lady of Crunk & B", and Brooke Valentine and Usher have also recorded R&B songs with strong crunk influences.
Contemporary R&B subgenres
These are the major subgenres of contemporary R&B, roughly in chronological order of popularity.
Quiet storm
Quiet storm is a broad category of R&B and jazz-based music that is mellow, laid-back and often romantic. Its name comes from an innovative radio show that originated at WHUR at Howard University in the mid-1970s, named after Smokey Robinson's hit 1975 single "Quiet Storm". Unlike contemporary R&B, quiet storm shows little influence from hip hop, and generally plays to the urban adult contemporary crowd. The genre achieved great mainstream success during the 1980s with artists like Luther Vandross, Anita Baker, and Sade. Among other notable quiet storm musicians are Lionel Richie, Gerald Levert, Joe, and Brian McKnight.
New jack swing
A fusion of hip hop music and R&B, new jack swing was distinguished by significant use of rapped choruses or bridges and prominent use of drum machines such as the Roland TR-808. Teddy Riley and his group Guy are credited with being the inventor of the genre; other notable figures include Bobby Brown, Jimmy Jam & Terry Lewis, Jodeci, and Boyz II Men. A female alternative, new jill swing, was championed by acts such as Janet Jackson, Total, Shanice, TLC, and SWV.
Hip hop soul
Essentially new jack swing for the 1990s, hip hop soul took the style further towards a pure hip hop sound, usually accompanied by a nervy, gangsta rap-esque image. The sound was remenescent of funk with the inclusion of relatively darker baselines with elongated groove notes. Among its most notable figures were Montell Jordan, BLACKstreet, Groove Theory, and the "Queen of Hip Hop Soul", Mary J. Blige.
Neo soul
Neo soul blends a hip hop influenced R&B sound with the classic soul of the 1970s. True neo soul is characterized by an earthy feel, accented by soul-styled harmonies, and accompanied by alternative hip hop beats. It generally has a much less mainstream sound than general R&B music. Some artists of this genre include Van Hunt, Tony! Toni! Toné!, Angie Stone, Maxwell, D'Angelo, Erykah Badu, Lauryn Hill, John Legend, Alicia Keys, and Jill Scott.
Tuesday, November 22, 2011
Alesis DM10 Studio Kit Professional Six-Piece Electronic Drum Set
!±8± Alesis DM10 Studio Kit Professional Six-Piece Electronic Drum Set
Brand : Alesis | Rate : | Price : $793.56
Post Date : Nov 22, 2011 03:00:20 | Usually ships in 1-2 business days
| Price : $793.56Post Date : Nov 22, 2011 03:00:20 | Usually ships in 1-2 business days
The DM10 Studio Kit is professional, six-piece electronic drum set with natural-feeling RealHead drum pads, low-noise DMPad Cymbals, the groundbreaking DM10 drum module, and a compact, flexible StageRack. You will immediately notice the DM10 module’s outstanding sound quality. This new drum sound module contains true drum, cymbal and percussion sounds, built from real samples of classic studio drums and prized cymbals. Drummers will find some of the most in-demand acoustic drum sounds from legendary drum brands, a huge arsenal of top producers' go-to snare drums, real American, Canadian, Chinese, and Turkish cymbals, and a choice selection of classic drum machine and electronic percussion sounds that have fueled the biggest hit records. Discerning ears will notice that each sound is actually a series of different samples; multiple dynamic-level samples and articulations are all built in so as you play harder and softer, the drum or cymbal changes its timbre, not just its volume. This engineered realism is known as Dynamic Articulation™, an Alesis exclusive. You can play with or without reverb for different room sounds and enjoy a wide variety of rimshots, rim clicks and different stick-placement sounds on the cymbals. For example, a hi-hat’s sound depends on a number of factors: how open or closed the pedal is, how hard it is struck, and other variables resulting in 40 different sounds – plus foot chick and heel splash. The DM10 module not only has a breathtaking collection of sounds onboard, it is also the world's first drum-sound module that enables you to load new sound sets via USB connection from your computer. This means that your sounds will always stay fresh, current and cutting edge.
More Specification..!!
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