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Marc Saltarelli, the director of the highly anticipated Studio One Forever documentary, joins the Richard Skipper Celebrates show to discuss the long gone, but never forgotten Studio One Disco. The interview also shows never-before-seen scenes from the documentary, which is on its final stages of completion.
The discussion delves into Studio One disco when the dance club was a mecca for gay men looking for identity in a world that saw them as outcasts.
The documentary synopsis states that Studio One was more than just a disco, it was mecca for gay men looking for identity in a world that saw them as outcasts. In 1974, the disco craze was just beginning to sweep the nation when Scott Forbes, a gay optometrist, had a vision to open the first gay disco in West Hollywood. He wanted to give young gay men a sense of the Hollywood glitz and glamour they craved. Temperatures rising, flashing strobe lights. Disco reverberating through our bare chests. And swarms of a thousand irresistible men with flirtatious smiles that were welcomed and returned. Everybody wanted to be at Studio One, but women and people of color were often denied entry. Protesters picketed the club entrance and a boycott happened. But the lines around the block only grew longer. Before Studio One, gay bars were shuttered with secret entrances. Gay men faced hate and homophobia, police brutality and violence, even death. Studio One changed all of that. Once inside, young gay men would climb the Studio’s dark staircase, cast away their existential fears, and find Heaven.
Not satisfied with just owning a disco, Forbes’ turned part of the massive club into The Backlot Theatre, a New York-style cabaret show room. Suddenly, every major star of the era began frequenting the club, including Cary Grant, Bette Davis, Rock Hudson and more. It integrated gay and straight Hollywood for the first time, with many stars strolling over to the disco for a dance after the show. The Backlot put Studio One on the map. Outrageous comics Like Joan Rivers, Charles Nelson Reilly, Wayland Flowers & Madame, and Divine were regulars, while up-and-coming stars of the time, like Roseanne Barr, Rosie O’Donnell and Sam Harris were launched to stardom from The Backlot.

The Studio One Forever Documentary is still raising funds for music licensing. The support the effort, visit Marc Saltarelli’s webstie at https://marcsaltarelli.com/ or click on the gofundme campaign at: https://www.gofundme.com/f/studiooneforever
Marc Saltarelli is an award-winning director with both narrative and documentary credits. He has directed seven narrative films that have screened collectively in over 250 major film festivals worldwide, including OutFest Los Angeles, Palm Springs ShortFest, Hollywood Film Festival, BFI London, Barcelona and Mumbai Film Festivals. The films were acquired for domestic television on MTV Networks (Logo) and internationally on Canal + Television. Marc’s film WHERE WE BEGAN was honored at the PlanetOut Short Movie Awards brunch held at the Sundance Film Festival. Three of his films were Official Selections of the BFI London LGBT Film Festival and screened in the National Film Theater in London.
In 2018, Marc directed, shot and edited I KNEW ANDY WARHOL, a documentary featuring interviews with artists and contemporaries of icon Andy Warhol. Artist Ed Ruscha, photographer Michael Childers, actor Udo Kier and Warhol superstar Cherry Vanilla were among the participants. The film was part of the Warhol exhibit at Palm Springs Art Museum. The film won Best Short Documentary at the Hollywood Reel Independent Film Festival and is an official selection of the Provincetown Film Festival. https://www.provincetownfilm.org/fest…
TO COMFORT YOU, starring Pauley Perrette (NCIS) and Susan Blakely (This Is Us) won best picture and best drama awards at the Beverly Hills Shortfest. Pauley and Susan shared best actress as well.
REMEMBER TO BREATHE, starring Lee Meriwether, Susan Blakely and Leigh Ann Larkin (“A Little Night Music”) earned five BEST PICTURE nominations worldwide including Barcelona and Mumbai LGBT Festivals. Lee Meriwether (“Batman”) was honored with the Spotlight Performance Award for her role as forgotten musical legend Alice Martin at the Hollywood Reel Independent Film Festival. Marc has a film degree from Loyola Marymount University with graduate work in directing from USC School of Cinematic Arts.


Music rights can be very expensive. Ever wonder why Miami Vice/WKRP in Cincy is not still shown? They can’t afford the music rights any more!
I’m really looking forward to this documentary. I hope it does not become your generic things were great then AIDS hit, and everyone died like what we got with Circus of Books pretty much any gay related documentary. Regardless it seems like it will be a good look back to what once was.
The Backlot night club was awesome. I saw Anita O’Day, Charles Pierce, Wayland Flowers and Madame performed at the club way back in the day. Richard Deacon and Charles Nelson Reilly could be seen schmoozing with the cuties.

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Jerren Thornhill, One Pair, at the demo day for the LaunchKC Social Venture Studio
Tying Jerren Thornhill’s social venture to the footwear industry jogs a logical path, the founder said: re-selling used shoes was a $2 billion industry in 2021, and more importantly: “Kids love shoes.”
His startup, One Pair — founded in 2020 to provide teenagers with a pathway to financial security through entrepreneurship while simultaneously minimizing their free time that could lead them to get into trouble — was one of seven socially-minded businesses showcased Thursday at a demo day for LaunchKC’s Social Venture Studio.
Thornhill described One Pair as “a maker space” completely operated by its teen employees. One Pair cleans and re-sells shoes, holds monthly events, and sells clothes from six local brands.
His pitch Thursday highlighted the business and demonstrated — as with other cohort members’ presentations — progress made through the course of the inaugural six-month venture studio program.
“We have seen a tremendous amount of growth over these past few months with them,” said India Wells-Carter, consultant for Social Impact Advising Group, which facilitated programming for the LaunchKC effort. “They’ve invested a lot of time, a lot of commitment. Being a founder and a CEO, you have a million other things on your to-do list. But they showed up, hopefully created a beautiful bond with each other, and now will continue on to lead and change our city.”
All seven of the Kansas City founders also received grant awards ranging from $35,000 to $50,000, professional support, dedicated mentoring, and network connections as they grow their businesses, which range in focus from eliminating food deserts to expanding telehealth appointments to engaging students using hip hop.
Click here to read more about the origins of the LaunchKC Social Venture Studio, which publicly announced less than a year ago.
A social venture is a business that prioritizes social good with business success. Kansas City has a rich fabric of social ventures, however the founders often felt that they fell through the cracks — not purely for profit, nor purely philanthropic — when it came to business advice, networking and funding.
Members of the LaunchKC Social Venture Studio cohort recounted “lightbulb moments” and detailed their entrepreneurial journeys to audience members, who were encouraged to connect with and find ways to support the founders.
Dr. Shelley Cooper, Come On Now, at the demo day for the LaunchKC Social Venture Studio
Dr. Shelley Cooper, founder and CEO of Diversity Telehealth, led off the evening by thanking her fellow cohort members “for the opportunity to have known and grown with them.”
Diversity Telehealth’s Come On Now! platform replaces no-shows and last-minute cancellations with billable telehealth appointments, aiming to connect the most vulnerable patients with the care they need, even if they can’t physically make it to a doctor’s office.
Cooper said 1 in 4 appointments each year end in cancellations or no-shows and could instead be filled using the HIPPA-compliant platform, which is currently being used in the Kansas City area, with a five-step plan in place to expand geographically.
She added that she believes Come On Now! could have saved the life of her father — who died in February 2018 at age 87 as he struggled to access medical care for his chronic conditions — had it existed at the time.
“The Come On Now! platform couldn’t save my daddy,” Cooper said. “But with your help, we can save your loved ones.”
Cohort members and mentors listen at the demo day for the LaunchKC Social Venture Studio
A prevailing theme among the inaugural cohort members was equitable food access and responsible disposal of food waste.
Maxfield Kaniger, founder of Kanbe’s Markets, started his nonprofit with the goal of conquering those two problems.
Kanbe’s Markets does that by redirecting produce from landfills to its 40 “Healthy Corner Stores,” which are mom-and-pop stores located in food deserts across Kansas City.
Kaniger said the program could be expanded to 600 locations throughout the city, and that at 300 locations, Kansas City would officially become the first major American city to eliminate food deserts entirely.
Produce that isn’t in good enough condition to sell is donated to local organizations that support food insecure individuals, and anything that isn’t safe for human consumption is dedicated for animal consumption. All remaining produce is composted.
Click here to read more about Max Kaniger, who was named one of Startland News’ Kansas City Community Builders to Watch in 2021.
Kristan Chamberlain, KC Can Compost, at the demo day for the LaunchKC Social Venture Studio
Compost is the whole focus for Kristan Chamberlain, executive director of KC Can Compost.
Chamberlain launched her organization in 2019 as a solution to what she called “the food waste crisis” that contributes to harmful greenhouse gas emissions.
She said KC Can Compost operates using a triple bottom line, meaning that in addition to generating revenue, the company also prioritizes people and the planet.
KC Can Compost provides orange organic waste bins in locations throughout the city so that people can easily dispose of food scraps that shouldn’t be left to decompose in landfills.
The organization then collects the bins and sorts through the waste to either repurpose or safely dispose of it.
Related: Spring in the face of ‘doom and gloom’ — KC Can Compost grows green infrastructure while expanding its own footprint
Chef Shanita McAfee-Bryant, The Prospect KC, at the demo day for the LaunchKC Social Venture Studio
Shanita McAfee-Bryant, executive director of The Prospect KC, also began her nonprofit with a focus on equitable food access.
The Prospect KC aims to end generational poverty by providing nutritional literacy and kitchen skills training, and through increasing access to nutritious, affordable, culturally appropriate food, particularly for residents of Kansas City’s east side.
McAfee-Bryant described the approach as “whole person training” and said she had “an a-ha moment” upon recently hearing the philosophy of fellow chef José Andrés.
“Charity is not about the redemption of the giver, but the liberation of the receiver,” McAfee-Bryant recounted.
The Prospect KC is set to open a social enterprise urban eatery at 2000 Vine in the coming months. All food and drink will be priced affordably, McAfee-Bryant said, and all profits will be reinvested in the nonprofit’s work.
Click here to read more about The Prospect KC’s plans at 2000 Vine.
Another common thread among the cohort was work centered on uplifting children, teens, and families.
Roy Scott, founder of Healthy Hip Hop, told the audience how after high school, he nixed college to pursue his dream of becoming a rapper.
Though that path didn’t pan out, Scott eventually used his love of the music genre to create Healthy Hip Hop, a TikTok-esque platform that encourages students to engage educationally by creating music-related videos and content in a secure network.
Scott recounted how his “urban Disney” platform nearly received $500,000 in funding after appearing on the ABC show “Shark Tank,” only to have Disney pull the episode and the deal because Healthy Hip Hop presented potential competition.
He then drew inspiration from Walt Disney himself, a fellow Missouri native and entrepreneur, persevering to build Healthy Hip Hop into a resource for students to achieve grade-level reading comprehension by third grade, with the goal of eliminating the school-to-prison pipeline.
Natasha Kirsch, Pawsperity, at the demo day for the LaunchKC Social Venture Studio
Natasha Kirsch founded Pawsperity (formerly known as The Grooming Project) in 2016 after seeing firsthand how poverty is often passed down from one generation to the next.
Kirsch recalled how in a phone conversation with her mother, a pet groomer in Iowa, she pleaded for anyone willing and able to work. That was Kirsch’s “lightbulb moment.”
After returning to school to earn a degree in nonprofit management, Kirsch founded Pawsperity, a unique organization that sends applicants — mostly single mothers — to school for 40 hours a week for six months to learn everything needed to be a successful pet groomer.
Along the way, participants have access to social workers, an on-site food pantry, child care, a family residence, and any other resources they need. The program takes two years to complete, but Kirsch said that graduates have Pawsperity’s support for life.
According to Kirsch, all 100 graduates were placed in jobs, 83% have retained employment, the average starting salary is $41,000, and 73 percent no longer needed welfare benefits within two years.
Additionally, she said dozens of children have been removed from foster care and reunited with their parents who went through the pet grooming program.
Click here to read more about one of the women impacted by Kirsch’s work.
In September, the International Economic Development Council (IEDC) recognized the LaunchKC Social Venture Studio with its Excellence in Economic Development Award for its work in promoting economic equity and inclusion.
The program was selected for the award from a pool of more than 500 applications from across the world. It is a collaboration between LaunchKC, which is organized by the Economic Development Council of Kansas City, Missouri and the Downtown Council, and Keystone CoLab, which played host to Thursday’s demo day.
“Social Venture Studio shows that Kansas City’s entrepreneurial spirit can build successful businesses and also help address longstanding issues in our community,” said Kansas City Mayor Quinton Lucas. “It is a testament to what can be done when organizations like the City, EDC, Downtown Council and Keystone Innovation District collaborate with emerging businesses to create opportunities for all members of our community.”

This story is possible thanks to support from the Ewing Marion Kauffman Foundation, a private, nonpartisan foundation that works together with communities in education and entrepreneurship to create uncommon solutions and empower people to shape their futures and be successful.
For more information, visit www.kauffman.org and connect at www.twitter.com/kauffmanfdn and www.facebook.com/kauffmanfdn
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Actors from the new Broadway musical are among those speaking out against the negative review.
UPDATE: Playbill has obtained a letter from KPOP producers Tim Forbes and Joey Parnes to New York Times leadership requesting an apology from Jesse Green.

In what seems to be turning into a growing trend, company members of Broadway’s KPOP are speaking out following a negative review of the musical by New York Times theatre critic Jesse Green. 
The musical, a behind-the-scenes look at the worldwide K-pop music phenomenon, follows the American debut of a fictional K-pop music label RBY. The label’s superstars—including solo artist MwE, played be real-life K-pop superstar Luna; girl group RTMIS; and boy band F8—prepare for a high-stakes NYC concert as a documentary filmmaker captures the performances and backstage struggles.
Those upset with Green’s review take issue with the critic’s seeming displeasure with the amount of Korean language in KPOP. “[T]hose who aren’t hard-core fans of the genre or don’t understand Korean—let alone those who saw the radically different and far superior Off-Broadway version in 2017—will have a harder time enjoying this one,” Green writes. He’s referencing the musical’s 2017 world premiere Off-Broadway at Ars Nova. Though the musical has been substantially revised on its journey to Broadway, both the earlier iteration and the current Broadway script include both lines and lyrics in Korean.

Notably, when reviewing National Yiddish Theatre Folksbiene’s 2018 production of Fiddler on the Roof (currently back for an encore run at New World Stages) that is performed completely in Yiddish, Green gushed that its language allowed the production to offer “a kind of authenticity no other American Fiddler ever has[.]” The productions do differ, however, in that Fiddler provides English and Russian supertitles throughout the performance; KPOP does not.
Several KPOP cast members took to social media to express their opinions of Green’s review. John Yi, who plays F8 member Danny, struck back at the review, writing in an Instagram post, “The starting place for Green’s review was that if you don’t understand Korean or you’re not already a fan of the KPOP genre, then this show is not for you. This is a Korean story and intermingling Korean with English doesn’t mean this story is not for every single member of our wonderful and diverse Broadway community. KPOP is as much for English speaking theatregoers as much as an Italian opera is at the Met.” He then called the review “racist.”  
Abraham Lim, who stars as fellow F8 member Jae Ik, posted his own video response on Instagram, specifically taking issue with Green describing portions of KPOP‘s lighting design (by Jiyoun Chang) as “squint-inducing.” Lim told Green to “find better words,” calling that word choice an act of “disrespect” because the cast of KPOP is made up of mostly Asian actors, and the musical is co-created by Asian creatives. “If you are not an Asian American that has been made fun of for their squinty eyes or their slanty eyes, I’m sorry, I don’t want to hear from you right now. You can take a seat,” he says in the video.
A post shared by Abraham Lim (@therealabraham)
In other cases, friends and family of cast members jumped into the fray. Howard Ho—the partner of Jully Lee (who plays KPOP‘s label impresario Ruby)—posted a line-by-line annotation of Green’s entire review.
Though once seen as borderline taboo, artists have increasingly been turning to social media to respond when they disagree with a critic’s review. Green himself is no stranger to the practice; he was put on blast by Tony winner Tonya Pinkins last month for his take on The Public Theater’s Off-Broadway revival of Lorraine Hansberry’s A Raisin in the Sun, which starred Pinkins as Lena Younger.
Beyond Green’s take, the reviews on KPOP were decidedly mixed, though no other reviews have drawn the same level of ire. No major outlets sent Korean or Asian American critics to review the musical. You can read what Green and other outlets had to say about the show, which opened November 27 at the Circle in the Square Theatre, here.
A request for a response from Green was not returned.
Conceived by Jason Kim and the Woodshed Collective, KPOP features a book by Kim; music, lyrics, music production, and arrangements by Helen Park; and music and lyrics by Max Vernon.

Luna in KPOP
Luna in KPOP
Kevin Woo and the company of KPOP
Luna in KPOP
The company of KPOP
Zach Piser in KPOP
Luna in KPOP
The company of KPOP
Luna in KPOP
The company of KPOP
The Tony-winning musical continues at the Walter Kerr Theatre.
Lincoln Center Theater/LCT3 present the world premiere, under the direction of Annie Tippe.
Here are the top 10 most-watched videos from Playbill’s Instagram.
The concert, spotlighting three historic theatres, also features the American Pops Orchestra, led by conductor Luke Frazier.
Playbill remembers the actors, directors, playwrights, and other familiar faces of the stage who died this year.
The new film from Oscar- and Tony-winning director Sam Mendes is about the beauty of being in a movie theatre.
We un-peel the layers of Stephen Sondheim and Angela Lansbury’s final screen appearances in the hit Netflix film starring Daniel Craig.
The Almost Famous star is bursting out of her box, and pushing herself to greater artistic heights.
See what’s coming soon, what’s premiering out of town, and what’s in development.
Sign up for reopening news, announcements, and exclusive discounts on tickets to your favorite shows!
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The barrier of entry into music production has never been lower, allowing anyone and everyone to dive into the art of making music. As such, many newer producers nowadays haven't ever even stepped near an instrument before cracking open Ableton.
Conversely, some producers, like Josh Teed, spent their entire lives honing their craft as classical musicians to only then transition into beat-making and music production in their adult life. Now, Josh's signature sound is shaped by his classic training and even goes as far as incorporating live violin into his DJ sets, setting him apart from the sea of other producers and turning him into a genuinely memorable and distinguished live electronic act.
To celebrate the release of his third studio album, we invited Josh to learn exactly how beneficial classical training is to music production and how a background in the world's most respected genre can make for damn-dirty drops. 
Josh's classical mastery over his craft is displayed throughout this 8-track album as he runs the entire gamut of sounds and styles that showcase his signature sound. 
Tracks like "Nightmare Sonata" and "Recurring Dreams" take a more standard approach to implementing his classical instrument. In contrast, songs like "Ancient Illusion" utilize the disharmonious scrapes of the strings to create a genuinely ominous tonality. Sprinkled through the album are more delicate changes in style, where tracks like "Elysian Forest" and "Hypnagogia" show the softer sides of Josh's musicianship.
All in all, Recurring Dreams is a masterwork that begs to be relistened time and time again and is a defining chapter in Josh's upward-facing career. 
This is the first and most crucial step when you want to be coming from a place of pure creativity or shooting for the 'flow state.' You need to approach your creative process with your mind cleared. There are a million different ways to do this; the key is to find the best way for you.
For me, I like to do stream-of-consciousness journaling. I did this before practicing violin, and I do it now before I start work producing music. It's just picking up a pen and paper and writing down every thought that comes to your head over maybe 10 minutes or so. I love this for emptying the cluttered thoughts from my mind when it's feeling too busy up there before a studio session. Some people like meditation, exercise, or even have full routines. Just find what works best for you!
If you're trying to showcase your instrument in a track, what better way than by making it the building block of the song? Orchestras do this all the time; I would play my violin melody alongside other string instruments to achieve a massive and full sound in the room.
The same principle can be applied to music production!
We can fully utilize our stereo field and frequency spectrum to layer many parts. We can even affect how the sound changes over time by using different layers with different envelopes to make one singular sound!
For example, I can have my lead violin front and center in the mix, with a primarily dry signal. Then a slower chord progression is put toward the back of the mix with a solid dose of reverb. Then I could pan rhythmic violin parts to either side of the mix. Going about it like this, we can layer various pieces together to create intricate melodies, harmonies, and call-and-response moments with just one instrument.
One of my favorite things with my instruments is making effects from the samples! There's an infinite variety of ways to approach this, but I'll share a few personal favorites. In classical music, you only had so many instruments on the stage; often, different instruments had to fulfill different roles throughout the composition. Scraping the strings on a violin can create an ominous and tension-filled incidental effect, for example.
For starters, risers and crashes are always useful FX to have! One way I'll make these is by taking a 16-32 bar loop and just washing it out entirely with delay and reverb, then automating the sample's gain to become either a rise or fall. On top of that, I'll usually automate a high pass filter's cutoff on a slope that aligns with the gain automation.
Another way I like to create FX with instrument recordings is by going through and taking the things I'd typically cut out (bumps, squeaks, shitty notes, etc) and applying effects like distortions and delays to those samples, repurposing them as textural effects!
These are just 2 of the thousands of things you could do here! 
One thing you'll find almost universally in all kinds of music is the use of fills at the end of a phrase. Resampling recordings to use as fills is one of my favorite ways to utilize instruments. Say I have a lovely 8-bar melody loop; I could cut off the last bar (or ½-¼-⅛ bar) of that, then use it in the drop as a fill on every 4th or 8th bar.
That's an easy example, but there's a multitude of directions you could take it. This is one of my favorite ways to add melodic spice to bass-heavy drop sections!
After studying classical music for most of my life, I realized that almost every instrument in the arrangement would have small fills and variations to some degree. This helped maintain interest in the core motifs while blurring the lines between sections. 
If the instrument gets drowned out in the mix, what's the point of even putting it there? Utilize your EQ with intention. If the instrument you're using gives you a signal prominently in the 8-12k HZ range, take the time to dip other elements that would interfere with that range to provide a pocket for the instrument to shine.
Taking those few extra minutes will bring clarity to that instrument in the mix.
Remember that classical orchestras didn't have EQs and compressors and had to use just the instruments' timbres and natural frequency ranges to create a clear and clean sound in the orchestra hall. The same principle can be accomplished in your DAW! 
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager 

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Geo Elasmar, Staff Writer|November 29, 2022
GRAPHIC BY GEO ELASMAR
Created this fall, the Critical Music Review Club allows students to immerse themselves in the world of music production.
What makes a song good?
Though multidimensional by nature, this question is debated every X-block by the Critical Music Review Club. The new club focuses on looking into several aspects of songs and albums, grading them and writing thorough reviews.
Club leaders and seniors Sheejin Choi, Rohan Sekhar and Leo Wu-Hacohen are ardent music lovers. They founded the club this fall to feed their musical passion.
Wu-Hacohen said they started the club to take their love of music to the next level.
“I think all of us, we’ve all been avid music listeners for our whole life and talked about it all the time,” Wu-Hacohen said. “We’ve always seen people review music and we’re just like we can do that too.”
“We’ve always seen other people review music, and we thought, we can definitely do that too,” Wu-Hacohen said.
During a typical meeting, the group pitches ideas, listens to their chosen albums and then begins the reviewing process.
According to Sekhar, uncovering the hidden layers of a song or album leads to a deeper understanding of the artist’s intention.
“Like any other form of artistic expression, with music there’s always an inexplicit layer from the artist that’s intended to be consumed,” Sekhar said. “We’re trying to explore that and convey it to people who may not have discovered it already.”
The club also examines other elements of songs and albums. To Sekhar, production, lyricism, instrumentation and rhythm are most important.
When reviewing, the club members concentrate on every note, beat and lyric to capture the music’s essence entirely. Choi, a cellist, has experience with this firsthand.
“As an artist, I know how much expression goes into art,” Choi said. “A lot of musicians add tiny, specific details and, while you might catch them listening casually, investing time to listen to, dissect and review the music will help you understand them more completely.”
Once a review is finalized, a sense of accomplishment washes over the reviewer and all club members. Choi said that the outcome of their lengthy review process is what makes it all worth it.
“My favorite part has been putting out an actual, tangible product,” Choi said. “There’s something really rewarding and satisfying about that.”
Wu-Hacohen and the club leaders hope to develop as a music listeners, writers, critical thinkers and most importantly demonstrate the power of music to all of the high school.
“We’re a group of people who love music,” Wu-Hacohen said, “We just want to share our love for music with everyone out there.”
The Critical Music Review club welcomes suggestions. If anyone has an album they would like the club to review, visit their Instagram page: @ bhscriticalmusicclub.
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An interview of DJ Khaled making a stance against producers' use of digital audio workstations like FL Studio and Logic has resurfaced and has the We the Best boss facing backlash.
On Nov. 26, Twitter user jordonlumley shared a snippet from a DJ Khaled interview on Hot 97 from 2015. During the clip, the God Did curator took a hard stance against beat makers who choose to use certain production programs.
"Producing changed. They made Logic. They made FruityLoops," DJ Khaled said, referring to FL Studio's former name. "It's called, too easy. It's called, you tell a computer what to program. That's why you see everybody is a producer and a DJ now."
He added, "But it takes a great producer like me to [say], 'Them sounds is garbage. They're fake. Don't fall for the trap.'"
Lumley asked people to weigh in prompting, "How you feel about this?"
"I produced 'theraflu' and 'wish you would' for khaled and kanye fully off FL studio," Grammy-winning producer Hit-Boy tweeted in reference to DJ Khaled's old comments on Monday (Nov. 28).
While Hit-Boy's response was more of a revelation, producer Cardo had a more pointed reply.
"Nigga shut up," he tweeted in response to the Khaled video. "He don’t know shit he talking about."
Khaled also got shots from budding beat makers as well.
"@djkhaled FUCK U BRUH!!!" another producer snapped. "I work HARD AS FUCK on FL STUDIO!!! Don’t slight mfs bcuz YOU have all the resources us SMALL PRODUCERS DONT!!! BITCH ASS NIGGA!!!!"
Many well-known producers use FL Studio and Logic to make beats including 9th Wonder, TM88, Pi'erre Bourne, Lex Luger, Boi-1da and many more. As previously stated, Khaled's own albums contain beats made with FL Studio. Maybe he's had a change of heart since then.

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Drum software plugins let you escape the limitations of stock drums in your DAW which can vary in quality between different DAW software.
So it’s time we take a look at some free VST drum plugins. Then you can determine which free drum VST plugins will best suit your musical style based on how much experience you have with music production.
After comparing numerous VST drums, we created a list of the top drum plugins for Windows & Mac that you can download for free:
Predominantly geared for hip-hop drums, the Line of Legends drum plugin is probably the most accessible drum VST there is.
Its simple interface gives you instant access to drum and percussion sounds like a kick, snare, clap, click, tom, hi-hat, and crash hat, each with its own outputs.
You’ll get 47 professional-quality samples across these eight channels, and controls for attack, release and panning are available. While some of the samples sound better than others, this drum VST plugin is highly configurable for a variety of needs.
As a result, we think it’s the best free drum VST plugin for beginners.
Sennheiser DrumMic’a is a free drum VST plugin with over 13,000 pre-recorded samples. High-end studio microphones captured each sample while professional drummers made the noise.  
You can customize the position of the microphones in the DrumMic’a VST plugin and choose between different microphones on each drum head too!
Mixer controls allow you to adjust the level of each drum, and the channel strips feature an EQ, a transient shaper, and a compressor. But more effects include reverb, delay, and panning!
You can also adjust the velocity of each drum head and map the kit to your MIDI controller.
In short, Sennheiser DrumMic’a is a great drum kit VST if you’re a user of Native Instruments’s Kontakt virtual instrument.
Though it’s a Mac-only plugin (AU plugin format), Mini Spillage is a resourceful freeware drum synth that PC users will miss in their plugin arsenal.
Mini Spillage is a trimmed-down version of a paid drum synth – DrumSpillage ($75).
But Mini Spillage does use the same sound engine as DrumSpillage, though this freemium plugin features only three signal generators:
Each of these generators utilizes LFOs and ADSR envelopes for sound shaping and modulation, and onboard effects like distortion and filters give you creative control over each drum generator.
And although Mini Spillage is a Mac-only plugin, it is not compatible with Apple’s M1 chip technology. You’ll want to keep that in mind if you have upgraded or are looking to.
Like Mini Spillage, this is slimmed version of a paid plugin – E-Phonic Drumatic 4 drum synthesizer ($29.99).
But this freemium plugin is the best all-round VST drum synth because it utilizes a combination of FM, wavetable, and subtractive synthesis to generate sound!
Our 4 favorite E-Phonic Drumatic drum synth VST features:
Urban Beats is another drum VST geared towards hip-hop drums, and it’s one of Native Instruments’s older virtual instruments. 
It features drum machine samples that are tailored towards hip-hop but do fit in club-focused genres like techno and house music.
Perhaps the biggest unique selling point of Urban Beats is that you can create grooves in one of three ways.
You’ll find typical mixer features, but convolution reverb, delay, and saturation are also available.Consequently, Urban Beats is the best free drum plugin for hip-hop drums.
MT Power Drumkit is widely renowned as one of the best VST drum plugins for acoustic drums. In fact, this sample-based virtual drum kit aims to replicate the sound of real drums!
Though being limited to acoustic drum samples isn’t everyone’s cup of tea, the samples are professionally recorded and processed and they will cut through your mix.
Each drum mixer channel features a compressor that allows you to control the dynamics of each drum, in addition to level controls.
Furthermore, MT Power Drumkit gives you a list of MIDI grooves and presets that emulate a variety of playing styles too. Here you can combine different grooves and fill presets inside the plugin as you build your beat.
And you can drag the composition into your DAW when you’re done, or you can use this VST plugin to program other drum samplers. It should be clear now why MT Power Drumkit is the best virtual drum kit plugin…
Labs by Spitfire Audio is a project they launched not so long ago that offers a range of professional-quality sampled instruments – for free – inside a glorious host plugin.
Labs Drums is more straightforward and conventional than some other Labs virtual instruments and it’s been around for some time.
It’s a sample-based virtual drum kit with a collection of acoustic drum hits recorded with top-of-the-range microphones.
While It’s geared towards accessibility and ease of use, its basic shaping controls allow you to balance timbres and apply varying degrees of depth to the drum sounds. Therefore, it’s got to be the best VST drum plugin for ease of use!
Drum Prop is a free drum ROMpler plugin that features 20 free drum kits, but you can add more with its paid expansions.
Though the plugin does encourage you to spend money, the free sounds inside Drum Prop sound great! In fact, a lot of the sounds are sourced from hardware such as Roland’s 808 and 909 drum synths.
You can control the shape of the drums with an ADSR envelope, and its mixer section allow you to control the blend of sounds further too. In addition to global controls, you can also access onboard effects such as reverb here too.
Finally, you can map those 12 pads on its interface to a MIDI drum pad and, access the sound of classic drum samples with your fingertips.
On the topic of classic drum samples, the Sampleson Sub is one of the best virtual impersonations of the classic Roland TR-808 drum machine
Its interface is easy to get on with as you work with analog samples inspired by the 808.
Though the plugin only offers pan and level controls, you will find some additional controls on the kick and snare channels, in addition to tuning for toms and congas.
But the Sampleson Sub has an additional feature – a sub-bass control. This is where the Sampleson Sub rides in its own lane.
The sub-controls allow you to thicken the low end of your kick drums, create long 808 kicks, and more which make Sub our favorite virtual drum machine.
And in the number one slot, we have SSD Free!
SSD Free utilizes samples of real acoustic drum kits like MT Power Drumkit – albeit with a very different user interface.
And this is another stripped version of the paid Steven Slate 5.5 plugin ($149). But it really is better than other free acoustic drum plugins!
People such as myself are constantly raving about the sounds inside this drum VST. The sounds coupled with its excellent user interface make SSD Free the best virtual drum software. Although it features only one drumkit, this free version of Steven Slate 5.5 utilizes three different pre-mixed presets.
It’s a professional-sounding plugin that any and all beginners should have in their plugin arsenal. And that’s why we think it’s the best VST drum plugin that’s available for free!
Now it’s time to start programming your free VST drums and cook some beats!
With the right drum plugin for your music and needs, you’ll be confident enough in your drums to finish music that you know sounds good.
But having the right sounds isn’t always enough – you’ve got to know how to motivate yourself and finish your tracks!
Well, this video will give you some out-of-the-box ideas to do just that…
But the sound of drum plugins can get boring after a while. That’s why it’s important to have access to samples that inspire you.
RouteNote Create offers premium samples for just $2.99 a month. You can browse hundreds of thousands of royalty-free sounds right now and download one-shots, loops, FX & full sample packs.
Don’t forget to sign up and claim your ten free sounds from RouteNote Create today, and subscribe for as little as $2.99 for 100 credits!
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NEW YORK  , Aug. 22, 2022 /PRNewswire/ — Music production software is also known as digital audio workstation (DAW). This software is used by musicians, artists, disc jockeys (DJs), and music production companies to perform multiple functions such as composing, recording, editing, mixing, and mastering to produce music.
Technavio estimates that the music production software market size is expected to grow by USD 369.87 million from 2021 to 2026. The growth momentum of the market will accelerate at a CAGR of 7.31% during the forecast period.

Get a comprehensive report summary describing the market size and forecast along with research methodology. The FREE sample report is available in PDF format
The market is characterized by low capital requirements and moderate product differentiation. Therefore, it is easy for new players to enter the market. However, the strong brand image of the existing vendors and their wide geographic presence makes it difficult for new vendors to gain a market share. Hence, the threat of new entrants was moderate in 2021, and it is expected to remain the same during the forecast period.
The Report offers information on all Porter’s Five Forces. Buy Now to gain insights that will help you improve your business.
The music production software market is fragmented, and the vendors are deploying organic and inorganic growth strategies to compete in the market. The market is in its growth stage and is expected to grow significantly during the forecast period. Owing to significant growth opportunities in this market, the competition will intensify with new product launches, technological innovations, and partnerships. Established vendors have increased their focus on the development and introduction of music production software as well as updating the old versions. Moreover, the growing number of musicians, artists, DJs, and music production companies is accelerating the demand for music production software. Some of the key vendors operating in the market include Ableton AG, Acon AS, Acoustica Inc., Adobe Inc., and Apple Inc.
The report provides a full list of key vendors, their strategies, and the latest developments. Request a FREE PDF Sample Now 
The music production software market has been segmented by type (editing, mixing, and recording), end-user (professionals and non-professionals), and geography (North America, Europe, APAC, South America, and the Middle East and Africa)
By end-user, the professional segment will account for the highest market growth. These advertisements have a stronger audio-visual effect, which gives viewers a positive product impression. The demand for music production software is rising, owing to the growing audio and video content.
By geography, the market has been segmented into North America, Europe, APAC, South America, and the Middle East and Africa. North America will have the highest market growth during the forecast period. The growth of this region is attributed to factors such as a significant increase in the adoption of music production software by professionals such as musicians and music production companies. Moreover, market growth in this region will be faster than the growth of the market in other regions. The US is a crucial country for the music production software market in North America.
Learn about the contribution of each segment summarized in concise infographics and thorough descriptions. View a FREE PDF Sample Report
The increase in the adoption of DJ software to produce music will drive the growth of the music production software market during the forecast period. The rising interest in music is providing several opportunities for DJ artists to give live performances. This will drive the adoption of music production software to compose, edit, record, and produce new songs and update old songs by adding new lyrics or music.
The growing demand for digital audio content is a trend in the market. Digital audio content, including music and podcasts, is gaining popularity worldwide. The rising adoption of electronic devices such as smartphones, smartwatches, laptops, and tablets has helped people consume more digital audio content. Apple Music, Amazon Music, YouTube Music, and Spotify are some of the major music streaming platforms.
Apart from the growing demand for digital audio content, many other trends are also shaping the future of the market. View FREE PDF Sample Report to learn about these trends
Recommendation Engine Market by End-user and Geography – Forecast and Analysis 2022-2026
Conversational Computing Platform Market by Type and Geography – Forecast and Analysis 2022-2026
Music Production Software Market Scope
Report Coverage
Details
Page number
120
Base year
2021
Forecast period
2022-2026
Growth momentum & CAGR
Accelerate at a CAGR of 7.31%
Market growth 2022-2026
USD 369.87 million
Market structure
Fragmented
YoY growth (%)
6.52
Regional analysis
North America, Europe, APAC, South America, and Middle East and Africa
Performing market contribution
North America at 42%
Key consumer countries
US, China, UK, Germany, and France
Competitive landscape
Leading companies, Competitive strategies, Consumer engagement scope
Key companies profiled
Ableton AG, Acon AS, Acoustica Inc., Adobe Inc., Apple Inc., Avid Technology Inc., Bitwig GmbH, Cockos Inc., GoldWave Inc., Image Line Software NV, iZotope Inc., MAGIX Software GmbH, MakeMusic Inc., MOTU Inc., MuTools, NCH SOFTWARE Pty Ltd., PreSonus Audio Electronics Inc., Reason Studios AB, Serato Ltd., and Yamaha Corp.
Market dynamics
Parent market analysis, market growth inducers and obstacles, fast-growing and slow-growing segment analysis, COVID-19 impact and recovery analysis and future consumer dynamics, and Market condition analysis for the forecast period.
Customization purview
If our report has not included the data that you are looking for, you can reach out to our analysts and get segments customized.
Browse Information Technology Market Reports
1 Executive Summary
2 Market Landscape
3 Market Sizing
4 Five Forces Analysis
5 Market Segmentation by End-user
6 Market Segmentation by Type
7 Customer Landscape
8 Geographic Landscape
9 Drivers, Challenges, and Trends
10 Vendor Landscape
11 Vendor Analysis
12 Appendix
Technavio is a leading global technology research and advisory company. Their research and analysis focus on emerging market trends and provide actionable insights to help businesses identify market opportunities and develop effective strategies to optimize their market positions. With over 500 specialized analysts, Technavio’s report library consists of more than 17,000 reports and counting, covering 800 technologies, spanning across 50 countries. Their client base consists of enterprises of all sizes, including more than 100 Fortune 500 companies. This growing client base relies on Technavio’s comprehensive coverage, extensive research, and actionable market insights to identify opportunities in existing and potential markets and assess their competitive positions within changing market scenarios.
Technavio Research
Jesse Maida
Media & Marketing Executive
US: +1 844 364 1100
UK: +44 203 893 3200
Email: [email protected]
Website: www.technavio.com/
SOURCE Technavio
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July 14, 2022 06:57 ET | Source: Market Reports World Market Reports World
Pune, INDIA
Pune, July 14, 2022 (GLOBE NEWSWIRE) — Global Music Production Software Market (2022-2028) research report represents a detailed overview of the current market situation and forecast till 2028. The study is perhaps a perfect mixture of qualitative and quantitative information highlighting key market developments, challenges, and competition the industry face alongside gap analysis and new opportunities available and trend within the Music Production Software Market. Further, this report gives the Music Production Software Market size, recent trends, growth, share, development status, market dynamics, cost structure, and competitive landscape. The research report also includes the present market and its growth potential in the given period of forecast. An exhaustive and professional study of the global Music Production Software market report has been completed by industry professionals and presented in the most particular manner to present only the details that matter the most. The report mainly focuses on the most dynamic information about the global market.
Get a Sample PDF of the report – https://www.marketreportsworld.com/enquiry/request-sample/19985763
Moreover, the research report gives detailed data about the major factors influencing the growth of the Music Production Software market at the national and local level forecast of the market size, in terms of value, market share by region, and segment, regional market positions, segment and country opportunities for growth, Key company profiles, SWOT, product portfolio and growth strategies.
Covid-19 Impact On Music Production Software Industry:
The Covid-19 pandemic has negatively impacted the Music Production Software Market. With the industries. Major companies have suspended their operations in different locations due to the lockdown and social distancing norms. Post pandemic, the industry expects a lot of requirements and demand owing to the rapid urbanization and growing need for wise use of area present.
COVID-19 (Coronavirus) Global Market Conditions and Competitors: – In this report, analysts compile existing research on COVID-19, share key insights, and help the reader to spot new market opportunities related to the pandemic. Topics include product development pipelines, diagnostic testing approaches, vaccine development programs, regulatory approvals, and much more.
About Music Production Software Market:
A digital audio workstation (DAW) is essentially the glue that sticks all of your creative sounds and ideas together. It is a piece of software that allows users to mix, master, edit and record audio files in any way they wish. Adding effects, vocals, additional instruments, sounds and flavours to your songs can all be done through a DAW, until you have a final, complete product you’re happy with. Most new and home studios focus on a digital setup, meaning DAWs are their primary music-making tool.

Market Analysis and Insights: Global Music Production Software Market

The global Music Production Software market size is projected to reach US$ 632.9 million by 2028, from US$ 442 million in 2021, at a CAGR of 5.2% during 2022-2028.
Global Music Production Software key players include Avid Technology, FL Studio, PreSonus Audio Electronics, Ableton, Steinberg Media Technologies, etc. With industry-standard accuracy in analysis and high data integrity, the report makes a brilliant attempt to unveil key opportunities available in the global Music Production Software market to help players in achieving a strong market position. Buyers of the report can access verified and reliable market forecasts, including those for the overall size of the global Music Production Software market in terms of revenue.
Get a Sample Copy of the Music Production Software Market Research Report 2022
This report gives a detailed description of all the factors influencing the growth of these market players as well as profiles of their companies, their product portfolios, marketing strategies, technology integrations, and more information about these market players. Some of the major players are as follows:
The Major Key Players Listed in Music Production Software Market Report are:
Global Music Production Software Market: Drivers and Restrains
The research report has incorporated the analysis of different factors that augment the market’s growth. It constitutes trends, restraints, and drivers that transform the market in either a positive or negative manner. This section also provides the scope of different segments and applications that can potentially influence the market in the future. The detailed information is based on current trends and historic milestones. 
A thorough evaluation of the restrains included in the report portrays the contrast to drivers and gives room for strategic planning. Factors that overshadow the market growth are pivotal as they can be understood to devise different bends for getting hold of the lucrative opportunities that are present in the ever-growing market. Additionally, insights into market expert’s opinions have been taken to understand the market better.
Inquire more and share questions if any before the purchase on this report at – https://www.marketreportsworld.com/enquiry/pre-order-enquiry/19985763
On the whole, the report proves to be an effective tool that players can use to gain a competitive edge over their competitors and ensure lasting success in the global Music Production Software market. All of the findings, data, and information provided in the report are validated and revalidated with the help of trustworthy sources. The analysts who authored the report took a unique and industry-best research and analysis approach for an in-depth study of the global Music Production Software market.
Global Music Production Software Market: Segment Analysis
The research report includes specific segments by region (country), company, Type and Application. This study provides information about the sales and revenue during the historic and forecasted period. Understanding the segments helps in identifying the importance of different factors that aid the market growth.
By Types:
By Application:
Geographic Segment Covered in the Report:
The Music Production Software report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country and sub-region during the estimated period.
The Study Objectives of this report are:
This Music Production Software Market Research/Analysis Report Contains Answers to the following Questions
Purchase this report (Price 4900 USD for a single-user license) – https://www.marketreportsworld.com/purchase/19985763
Detailed TOC of Global Music Production Software Market Report 2022
1 Report Business Overview
1.1 Study Scope
1.2 Market Analysis by Type
1.2.1 Global Music Production Software Market Size Growth Rate by Type, 2017 VS 2021 VS 2028
1.2.2 Editing
1.2.3 Mixing
1.2.4 Recording
1.3 Market by Application
1.3.1 Global Music Production Software Market Size Growth Rate by Application, 2017 VS 2021 VS 2028
1.3.2 Artists
1.3.3 Musicians
1.3.4 Entertainment
1.3.5 Educatio
1.4 Study Objectives
1.5 Years Considered
2 Global Growth Trends
2.1 Global Music Production Software Market Perspective (2017-2028)
2.2 Music Production Software Growth Trends by Region
2.2.1 Music Production Software Market Size by Region: 2017 VS 2021 VS 2028
2.2.2 Music Production Software Historic Market Size by Region (2017-2022)
2.2.3 Music Production Software Forecasted Market Size by Region (2023-2028)
2.3 Music Production Software Market Dynamics
2.3.1 Music Production Software Industry Trends
2.3.2 Music Production Software Market Drivers
2.3.3 Music Production Software Market Challenges
2.3.4 Music Production Software Market Restraints
3 Competition Landscape by Key Players
4 Music Production Software Breakdown Data by Type
5 Music Production Software Breakdown Data by Application
6 North America
7 Europe
8 Asia-Pacific
9 Latin America
10 Middle East & Africa
11 Key Players Profiles
12 Analyst’s Viewpoints/Conclusions
13 Appendix
Continued….
Browse the complete table of contents at – https://www.marketreportsworld.com/TOC/19985763#TOC
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Market Reports World is the Credible Source for Gaining the Market Reports that will provide you with the Lead Your Business Needs. The market is changing rapidly with the ongoing expansion of the industry. Advancement in technology has provided today’s businesses with multifaceted advantages resulting in daily economic shifts. Thus, it is very important for a company to comprehend the patterns of the market movements in order to strategize better. An efficient strategy offers the companies a head start in planning and an edge over the competitors.

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To tell the truth, there are so many choices of free apps for making music that it can be hard to decide which is right for you. Well, we’ve narrowed the list down to 5 of the best apps for making beats, playing with MIDI, and recording audio.
Industry-standard DAWs like Cubase, Ableton, and FL Studio are pretty expensive. While some break the cost down into tiers and offer various levels of functionality, these free music production apps for mobile & computer give you all the functionality you’ll need to get started making music.
These free apps will let you make your own music easily. We’ve included beat-making apps for PC & Android, online DAWs where you can make music without paying a penny, and one notorious free music-making app for Mac & iOS devices. You see, we really have covered all bases…
So let’s get stuck in and talk about the best apps where you can make music free of charge.
Roland’s Zentracker is our favorite free app for making music and it’s available for both iOS and Android.
Zentracker is our favorite free music-making app for mobile for many reasons. Firstly, you can work with audio and MIDI. Secondly, Zentracker allows you to punch-in new recordings over a portion of old ones during playback in addition to standard recording. Thirdly, Zentracker gives you an unlimited amount of audio channels!
You can plug two effects at a time on each channel, and each channel has two sends too. Furthermore, Zentracker utilizes a “track freeze” function which converts everything to audio. As a result, you can continue creating even if your phone processor starts to run slow.
The free version of Zentracker gives you a Compressor, Reverb, EQ, Delay, Chorus, Flanger, and Auto Wah! And Roland gives you 200 onboard looped samples with the free version too. With that said, certain effects do require payment
Finally, Zentracker utilizes intuitive automation and allows you to collaborate with fellow artists on the same project in different locations.
GarageBand comes with every iPhone, iPad & Mac device and is a fantastic app for making easily for free. In fact, it’s an entry-level DAW, and its workflow is based on Apple’s flagship digital audio workstation Logic Pro.
Garageband is a free app that’s easy to get started with. It’s stocked with professional samples of all kinds of instrument presets, loops, and other samples, and you can record your own audio and insert it onto audio tracks inside Garageband too.
You’ll find 32 audio tracks, a sequencer, a live loop DJ feature, and a lot more in the free iOS app for making music. A simple set of controls make music production & recording on the go easy.
Bandlab is a free app for making music on iPhone, Mac, Android, Chromebook, and PC. It features 120 professional instruments, and you can connect your own instruments too.
While DAWs like Ableton, FL Studio, and Logic Pro will give you a plethora of features for a hefty price Cakewalk’s BandlLab will give you many of the same features for free. In fact, seasoned producers and recording artists may find something valuable.
Furthermore, the audio or MIDI channels feature some pretty heavy-hitting plugins. For example, you’ll find an EQ, compressor, tube saturation emulator, and a selection of console modules. But you can add additional effects like reverb, tape emulation, and more.
Better yet, you can access projects you make on the BandLab mobile app on the desktop software too!
In the same fashion as BandLap and Zentracker, Soundtrap is also available for iOS and Android devices. Created by Spotify, Soundtrap works on both your phone, tablet, and PC.
As a result, Soundtrap is the best beat-making app for iPhone and Android devices, as well as Mac and Windows computers! Soundtrap is full of features with a seamless workflow, and that’s why it’s one of the best music-making DAWs.
Soundtrap features an AutoTune effect, automation capabilities, and over 4,000 professional-quality samples and preset for you to use however you like. Additionally, Soundtrap gives you a range of virtual instruments, loops, one-shots, and you can record your own audio too.
As far as collaboration is concerned, Soundtrap provides a space for collaboration between friends and fellow artists. Soundtrap allows you to watch featured tutorials as soon as you sign up, so you definitely won’t get lost and you can just get can get stuck quickly. It’s pretty easy to find your way around thanks to its easy-to-use interface.
However, some effects do require you to pay like Zentracker. Even so, Soundtrap is a fantastic tool for recording any ideas on the spot!
Finally, Zenbeats is another free Roland music-making app for Android and iOS. Like Zentracker, its interface and workflow will keep you in your creative zone.
In fact, Zenbeats’s main selling point is that it’s built around a vintage of new and classic Roland sounds! Zentracker is easy to use and encapsulates Roland’s history of sound creation.
Ultimately, Zenbeats converts the history of Roland into an accessible beat-making application. You’ll find a plethora of presets, samples, and creative tools that will blow your creative palette into the sky. You can also purchase hip-hop and electronic sample packs in the app too.
Zenbeats lets you record across multiple tracks, generate ideas, and transfer the stems to a DAW straight away. Playing around with vintage Roland synths is a favorite pastime of many producers, and Zenbeats provides a generation of them.
Now that you have your free software, it’s time to get to know your choice of free DAW/app so you can record your songs and make your beats.
But the freebies don’t stop there! Developers are constantly offering free instrument and effect plugins for PC & Mac DAWs, and you can find the best free virtual instruments right here.
Let us know which free music production app you chose in the comments and tell us what you think of it!
Find the perfect samples for your free music-making apps on RouteNote Create. Download 100 royalty-free one-shots, loops, FX & full sample packs right now for $2.99!
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