LOVE is a device that can play your vinyl records through a rotating pad, which is placed on top of the disc and rotates counterclockwise on a still record. LOVE completely redefines the record player by keeping the record stationary while preserving the classic sound we’ve grown accustomed to.
It can be connected via Bluetooth or Wi-Fi, to the revolutions of (33 ⅓ or 45 RPM) counting on a conventional needle that also, can be replaced. It has an elegant design, signed by Yves Behary can be controlled optionally from your smartphone with its own app, from which we can skip and repeat tracks, change the volume or RPM and display the album cover. It also offers 3.5mm output and RCA with an adapter.
Watch video bellow.
You can play 12, 10 and 7 inch discs. It works with a lithium battery that allows you to listen to over 15 complete sides of 12 “LP records and takes roughly 1.5 hours to recharge.
LOVE started as a Kickstarter project and has already exceeded its funding goals.
It will be available to the first backers from October 2017.
You will get 47% off retail price of $599.
Phono Cartridge: Standard phonograph cartridge, user replaceable
Wow and Flutter: 0.2% maximum
Rumble: < -60dBa (DIN 45539)
Bandwidth (3dB): 20 Hz to 18 KHz
Sample rate: 44 kHz, 16 bit stereo
Channel Separation: 25dB at 1kHz
Channel Balance: 2dB
Indicators – LED: on/off, Buttons: Power on/off + Start/stop play, Optical Sensor detector to find tracks and edge of media.
Power and Battery – Plays roughly 15 full 12 inch LP records.
Output: 5vdc 2A
Dimensions – Arm: 10” x 3.5” (w) x 2” (h) | Record Base: 7” round
LOVE Smartphone App – The mobile application provides the primary user interface for the turntable. It allows control of all playing functions, connects to the database, or to selected third party services.
Remote Control – The app will provide a remote control interface to allow control of all playing functions.
Panning techniques can be used to create space, and a much more immersive musical experience.
In much of today’s music, the central rhythm and solo voice are the main focus of the mix. Because of this, the bass drum, snare and singing voice are centrally located – usually called ‘C’ or ‘0’ in most DAW software.
Usually, the rest of the elements in the mix is what the engineer, technician or producer uses to create a stereo image of the track. Our ears tend to focus on the elements of the mix that are in the center or panned at the left or right ends, while the rest becomes more diffuse.
￼The idea is to create an image in audio to obtain movement and excitement, making elements appear in the stereo field to maintain attention of the listener. In many cases you can close your eyes to visualize the musicians playing their instruments as if they were positioned on the stage.
We provide some guidelines, along with certain tricks and practical advice.-
1) Duplicates Guitars: When you record doubled guitars (recording the same part twice on separate tracks), if you separate one track completely to the left and the other fully to the right, you will get a much fuller sound without needing to saturate the whole arrangement.
2) Complementary Panning: If you have two instruments in your mix that occupy a similar range of frequencies, try to pan each one opposite the other. It does not have to be to extremes. For example, a guitar slightly panned to the left could complement a keyboard that is slightly to the right. This creates a better balance in your mix, and the listener does not perceive all the instruments as coming from the same position, which can fatigue and make the listening boring and confusing.
3)Snare in the center or outside it: Pan your snare completely in the center makes your sound with much punch. While sending it slightly to one side, it can make the listener focus more on other elements, such as the lead vocals or bass drum.
4) Closed strophe, wide chorus: Try a more closed stereo image throughout the mix during the strophes of your songs, but apply a more open image when panning the elements of the choruses beyond the center. Keeping certain elements in that way – or simply at specific moment – will create interest in your tracks.
5) Listen to it in mono: Try listening your mix in monophonic mode to make sure you are not missing out on the process. You may have spent a lot of time working on the panning of all the tracks, just to realize after your mix sounded much more shocking at first!
6) Keep in mind clubs: If you are mixing any type of electronic music that is susceptible to be played in a club, keep in mind that many of these systems sound works in mono. The provision of identical audio signals panned left and right may cause phase cancellations during monophonic playbacks, particularly in the bass area. Create a good and wide stereo mix, but go alternating mono to make sure you will not lose anything when playing your music on monophonic systems.
7) Check with headphones: Listen to your mix with headphones to make sure it does not sound incoherent or unbalanced. Your studio monitors may be excellent, but since your headphones will not have crosstalk problems (right speaker information interfering with your left ear, and vice versa), your experience will sound different. Remember, perhaps most of your audience will eventually hear your music through headphones!
8) Do not overload: Try that items that pan on the left or right do not overload too much, rhythmically speaking. For example, mixing two rhythm instruments that occupy a similar range at high frequencies – such as an acoustic guitar and a hi-hat – you can locate each on opposite sides. If these two instruments normally play a similar rhythm (1/8 or 1/16 measures), holding them in opposite panoramas will create a similar rhythmic feel on both speakers. Panning too many rhythmic elements in a single channel can distract too much.
9) Give it a vintage air: That said, some old recordings – or modern mixes made with nostalgia and classical methods – tend to pan the battery almost to the right of the whole set, while the bass is in opposition, to the left. Doing this may compel listeners to listen with more effort and attention, but could result in interesting textures for your music.
10) Less is more: Many times, the broadest mixes do not come from panning everything, but from doing so only in certain interesting elements, while maintaining a balanced center and with footprint. This type of mix usually sounds correctly in mono, too.
Try to give space and amplitude to a single element of your mix, such as double guitars, a piano track or aerial drums, and leave the rest around the center, taking care of the levels and applying an EQ with judgment and moderation.
It’s been nearly two years with SFX Entertainment at the helm of Beatport, which in the last year alone has seen the launch of Beatport Pro (the desktop organization system + media player) and identically-named Beatport Pro (the new redesign of their online music store).
Now Beatport.com is about to have a major pivot, according to the Wall Street Journal, designed to attract fans of the many festivals that SFX is also behind. The pivot? Music streaming:
“Rather than selling downloads, the new site will feature a free, ad-supported music streaming service and the ability to listen on-demand to a catalog of mostly electronic songs”
If you’re concerned about one of the best services for buying electronic music going stream-only, don’t fear. Beatport Pro will stick around as the storefront.
Beatport is now mounting the difficult obstacle of negotiating streaming rights for all of the music on the site – something that’s easier when dealing with small labels than with massive majors. WSJ speculates that many of SFX’s acquisitions will play a role in the new Beatport, which could act as
“a community center for dance-music fans, showcasing event information, artist profiles and, potentially, live-streamed performances […] The site is likely to incorporate SFX’s latest acquisitions: a music-based social network called Listn, and hostess.fm, which allows users to listen in real time to what’s being played in clubs around the world.
The goal: To funnel the roughly 300 million fans each year who visit SFX’s 59 separate websites, or view its content elsewhere, into one place, so that advertisers can reach them more efficiently, the company has said.”
We’re still waiting on more details to emerge from Beatport themselves – but it seems pretty clear that the Journal’s source knows what they’re talking about.
What do you imagine the new Beatport will be like? Let us know in the comments.
Singer/songwriter Viv May is on the look out for producers to collaborate with, and this is an opportunity for Point Blank students to produce their own remix using Viv’s vocals from her latest project. Viv previously studied the Singing course at Point Blank and has since become an integral part of many Point Blank sessions, recording vocals for some of their online courses, taking part in the Ableton Push Challenge and being involved in live performances at the BPM Show. You can check out Viv’s remake in the video.
they’re keen to get equally talented producers from Point Blank London and their online courses collaborating with Viv, so as a special incentive they are giving away one of our eight-week online courses to the best remix effort. You can download the vocal parts right here and the deadline for submission is 31st December, so get yourself involved! Please email Matt with a brief intro along with your entry, which can be a download or SoundCloud link. We’ll announce the winning entry in early January.
The growth of vinyl record sales is becoming a familiar story.
Then again, the best stories are the ones you’re happy to hear time and time again. Industry watchdog Nielsen SoundScan have released their mid-year report for music sales in the USA, revealing that vinyl sales are up another 40% on last year’s record breaking figures.
Although still just a small proportion of the market share, it is growth only comparable with that seen in online streams, suggesting that fans are opting to consume music in the two most polarised formats; either as instant streams over which they have no ownership, or as vinyl records, that represent the most fundamental sound carrier available. Aside from the doomed CD, the unlikely losers are MP3 downloads, which slumped by 13%.
As David Bakula, SVP at Nielsen Entertainment explains: “Streaming’s 42% year-over-year growth and Vinyl LP’s 40% increase over last year’s record-setting pace shows interest in buying and consuming music continues to be robust, with two very distinct segments of the industry expanding substantially.” [via Billboard]
Optikal Dubs Records presents “One of a Kind” music video directed by Edicson Nieto and with the participation of New York duo Blanquito Man (King Changó, Gold record, 50,000 units sold) and Candice Cannabis alongside Venezuelan producer ZoundColector. Filmed in New York (USA) and Caracas (Venezuela) One of a Kind” shows philosophy crossing continents and cultures. As the video unfolds you can see idiosyncrasy, culture and the features of both capitals such as New York and Caracas. Production shooting in Caracas, Venezuela was in charge of José Parra, while filming in New York was made by Andrew Blanco and Candice Owens. Carlos Bravo and Andrew Blanco takes care of the Photography Direction, both in Caracas and New York respectively.
“One Of A Kind” merges the electronic with the organic, with rushing breaks underpinning some neat melodies and positive feel. There are ﬂashes of the old skool in the beats, and the invigorating vocals from Blanquito and Candice work brilliantly. The single “One of a Kind” was released past May 5, you can get it here.
Executive Producer & Director: Edicson Nieto.
Production: José Parra, Carlos Bravo, Andrew Blanco, Candice Owens.
Photography Direction: Carlos Bravo (CCS), Andrew Blanco (NYC).
Camera: Carlos Bravo, Johan Canelo, Andrew Blanco, Candice Owens.