The whole concept of paying users to pirate music is definitely interesting and also, somewhat hilarious, but I am personally not so sure about the feasibility of their business model. Basically, they are claiming that they are going to pay to both file sharers and content providers. But where does this money come from? According to Mr. Pandeya, downloading popular files from internet causes heavy traffic which ISP’s have to cope with, which the P2P model would help to significantly reduce. Instead of users grabbing the same file from one server, the traffic is shared between different peers in which majority of them ideally fall into the same network thus keeping important network links (such as cross country and cross ISP connections) cleaner.

The concept itself isn’t that new, atleast in Estonia many providers used KaZaa and eMule cache servers and sanitary FTP servers in their networks to reduce the strain on external links, of course it required  investment and maintenance to the servers while not being exactly legal either. But it kept both customers and ISP happy as the former got their free porn and the latter didn’t have to pay billions to increase the cross-country uplink bandwidths to keep customers google front page opening within reasonable time.

Technically the solution the GGF offers is somewhat better as the ISP doesn’t have to worry about setting up the frameworks nor do they have to maintain it. They do have to pay for the technology though, how much is a good question. Whether it will balance the money that will go to both file-sharers and the content providers?

First problem arises from content providers. As we know from experience they are not exactly flexible with licensing details. For example, they expect rather big amounts of money per track for download and bit less when the distribution is considered to be “broadcast” or streaming. The prices usually go as high as $1 – $5 per person per download for album tracks and even up to $20 for single tracks! Looking at TPB stats, this would generate millions of dollars in royalties in a single day. Now add costs to the file-sharers and of course the operating costs + expected income to the company itself… I am not sure how much ISP should charge per household internet connection so it could actually pay for it?

Next, the content providers are pretty restrictive on the distribution of their stuff as well. Think of DRM, country based restrictions, delayed release times, etc. This causes more serious problem in the whole ecosystem than one could imagine. If the company really wants to compete with the piracy, they need to have content that is wanted and that works like pirated stuff, that means: no DRM, quick release times, global availability. If they fail to compete with piracy in this, they also fail their value in the ISP eyes. If people are going to continue to download their content through illegal file sharing sites and continue thrashing the link, the ISP doesn’t get any benefits from the deal with GGF.

As a conclusion, I would say that the company has good ideas and maybe a possibility for a future, but I still remain sceptical about the aspects of making this work out. The Copyright Law is still giving too much rights to the large organizations claiming to protect it, and of course, they largely take advantage of it by pumping far larger sums of money through the system than it’s worth. The model of the “New Pirate Bay” seems like something that could make lots of people happy and technically work out as an effective method get the content providers paid as well, but in practice, I believe that the greed will pull it down like other ambitious projects in past.

The information given is very little so far, so compiling a list of things we do know isn’t that hard. So here is what we know so far:

1. The Pirate Bay will be sold to GGF when the latter can acquire enough funds to make the transaction by august 2009.
2. According to GGF CEO,  “GGF intends to launch new business models that allow compensation to the content providers and copyright owners.”
3. The GGF also acquired P2P technology company Peerialism.
4. Some sources say that they are planning to build a new decentralized tracker for TPB based on that technology. Exact benefits are still unclear.
5. TPB have stated that “if the new owners will screw around with the site, nobody will keep using it. That’s the biggest insurance one can have that the site will be run in the way that we all want to.”
6. Peter Sunde (TPB spokesperson) in his latest interview said that the ownership of TPB was already handed over to some mysterious third party back in 2006, wit h a deal that when that third party decides to sell the TPB, all money made will go to a fIn the same interview he claimed that they won’t benefit from the sale directly and none of the money will go to RIAA, MPAA, IFPI or friends.oundation for internet freedom.
7. In the same interview he claimed that they won’t benefit from the sale directly and none of the money will go to RIAA, MPAA, IFPI or friends.
8. … And that they are under non-disclosure agreement and can’t talk much about the future plans of GGF with TPB.

Other than that, we don’t know much of anything about the deal. All the information that is given raises more questions than it answers and leaves a lot of room for speculation, which many people also take advantage of. Lots of TPB users are already abandoning the ship, and say that TPB is gone and dead. Some of the b-tards started a DDoS attack towards TPB site shortly after the press releases hit the net. Lots of people are spamming commentaries with messages calling people for “mutiny”.

Some speculate on the possibility of the sale being a covert operation of the copyright organizations to put TPB out of business — if you can’t beat them, buy them. I personally don’t believe it, specially considering that the court case involving the TPB current operators is still pretty much open. But you can never say never, as the project to legalize a piracy site has been tried couple of times before with the experiment ending with catastrophe every time. This probably would work, but are the TPB guys that stupid that they would take a hook like this? Obviously there is something into the deal that made the TPB guys sell the site, as Peter Sunde himself said, the offer has been made numerous times before, but they didn’t budge until now.

Others speculate that this move may indeed be a clever counterstrike against the copyright organizations by making it basically impossible to track or blame anyone while leaving the site itself free and ad supported and giving money to content providers on TPB terms, not on the providers terms. So going legal only would mean going Technically Legal and Morally Acceptable, but not legal as the copyright organizations would see it.

Well considering all the theories around the net, and looking at the face of the truth: turning TPB into paysite or filtering content is going to be an epic fail, we can make some conclusions. Basically we have two possibilities: Either the project is designed to pull down TPB altogether or they really have some business plan that is acceptable to TPB only truly valuable asset: the userbase. Only time will tell which one of those theories is the correct one.

So I thought to look into the software for a bit and give my opinion about it.

Rewire

Really wanted feature amongst Renoise fanatics. This allows the user to interconnect several different audio programs with Renoise. Basically, allows you to exploit the benefits of different programs while saving lots of time and frustration by avoiding the neccesity for bouncing tracks and importing and exporting the projects. So technically you can track music in Renoise, and record vocals in Reaper for example or even control the synths in one or other program.

I am no expert on rewire unfortunately, as linux user, I have never actually used it, but looking the community reaction to the implementation of the technology, I assume we can safely say it’s a good thing!

Live features

Renoise implements a new technology known as “detatched pattern sequencer”, which allows user to play patterns which are not currently edited. Although the feature is nothing new, and was present in Impulse Tracker as well as many other trackers which have spawned on the earth, it is really great new feature addition to Renoise.

The technology offers several workflow improvements, which some of them are really transparent and intuitive. For example, when editing a pattern and playing it, and the playback advances several patterns. Now, when stopping playback you are still on the pattern you started the playback from, so you don’t lose the track of your work and when recording vocals or guitar solos, you can start the playback from the pattern you wanted to with only one click, without the need to scroll back.

As for live features, the new detached sequencer offers several, small yet extremely useful, features:

First is pattern queue functionality. Pattern sequence view has little playback buttons on next to the track number. By clicking on one of them you add this pattern to playback queue, which means that after current pattern finishes, the marked pattern will be played instead of the next pattern in the sequence. Ofcourse you can mark the next pattern in sequence as well as currently playing pattern aswell. This sort of queuing also overrides “loop pattern” toggle, so you can have full control over the sequence playback order.

By clicking on other pattern while the queue jump hasn’t yet taken place you will replace the queued pattern, so the last clicked one will be played next instead. It is possible to queue multiple patterns, effectively creating on-the-fly pattern sequences, but that feature isn’t actively advertised as it doesn’t yet have indicators for showing the queue numbers. But in case you don’t care about the indicators (most likely you don’t, cause when you need to queue multiple patterns they are flying too fast anyway) you can have much fun with it.

Beside the pattern queue few other cool techniques become available with the detatched sequencer. For example, jump to row functionality (by pressing enter key on default keybindings) is useful for finer grained access to pattern contents and rearranging. You can now jump to certain row on certain pattern while in playback. This does not only let you rearrange the song, but create totally new and unique rhythms, chord progressions and melodies out of existing material. You just have to be fast enough to go through the patterns and rows to make it happen. But as challanging it may seem, it’s extremely fun.

And let’s not forget the ability to change patterns while other patterns are playing. The benefits of this feature are ofcourse obvious to everyone.

Hydra device

Renoise 2.1 added three new metadevices. The one that got most attention was obviously the new allmighty Hydra Device. It might have been it’s mystical name which caused some of the attention, but nevertheless, the beast has some amazing abilities which make it stand out.

By definition the device is very simple signal divider, it has one input and 9 possible outputs with transformations. You can connect several devices to the hydra and control them with one slider. What’s the benefits of this? Basically, you can create complex sound changes which are controllable with single slider and are held together by Hydra transformations. Guys who are crazy about their sound design surely know the situations when they have created complex device chains, but to alter the sound they have to move several sliders or else the sound breaks apart. This metadevice fixes that problem, you can connect up to 9 devices to one hydra device, and if that’s not enough, you can connect one hydra to another.

I have had quite a bit of fun with the hydra device, it definitely both improves workflow and gives the courage to go after complex and inspiring sound designs, which previously looked too scary to handle and hold together.

Other features

Not to forget other cool features that got implemented. Midi CC device got renamed to Midi Control Device and now includes pitch bend controller which is really great news for those who love to make fluid music. Now making pitch bends is easyer than ever and you can do it with lot less pain than before. You can use both automation and pattern commands for pitch bend now, and the latter requires you to fill in only the effect field not bunch of the commands.

Keytracking device lets you make filters behave more sensibly to have clarity in notes that are higher while leaving bassy notes as bassy as with fixed filter. Ofcourse it’s not only limited to that, there are lots of things you can do with key tracking device.

And last but not least, the JACK transport for linux users allows them to sync renoise with other Jack clients. The audio routing between jack clients was possible before and midi syncing with some clients worked aswell.

Overall impression

The release isn’t too big this time, as it came quite quickly after 2.0 release and was intended to be smaller one, but the benefits it offers are totally revolutionary and offer many many many new things to artists and will surely help the world to become ritcher by several great tunes out there.

The stability is still like it used to be: rock solid. On all platforms renoise is offered on. The default theme got bit dimmer and bluer, not sure if it’s better or not as I still use the old, customized theme most of the time.

So another great release by Renoise team!

Download the demo version or purchase the full version here: http://renoise.com
Official press release here: http://www.renoise.com/indepth/renoise-news/renoise-21-gives-you-rewire-jack-transport-and-pattern-queuing/

The idea behind 2.1 is that until Renoise has features like a piano-roll, an arranger and audio file streaming, you should at least be able to use them through external means. That is why we have added routing features to connect Renoise to other audio applications. With ReWire on Windows and MacOSX, and the Jack Transport protocol on Linux, you can finally combine the best things about trackers and sequencers.

Performing live with Renoise is more flexible than ever. First of all, you can keep editing a pattern while the song continues to play. That makes it possible to do some last minute changes before playback actually reaches that pattern. Secondly, you will be able to queue patterns. When playback reaches the end of the pattern, it will ignore your pre-baked sequence and go to the blinking pattern instead. It’s like going off-road: if your audience likes it, why not take the scenic route?

To top it off we threw in a couple of new devices. The ominously named Hydra Device multiplexes movements from one slider to a maximum of 9 outputs. Mythological experts know why 9 of them. The Key-Tracking Device modulates any parameter according to an incoming note pitch. Real nice for frequency dependent effects. And finally, the MIDI-Control Device is a pimped up replacement for the MIDI CC Device. You can now send and automate several non-CC parameters to MIDI Instruments, such as Pitchbend, Channel Pressure and Program Change.

More details about this release: What’s new in Renoise 2.1

Maybe you have a different DAW of choice, but you are interested in creating music from a different point of view? With ReWire and Jack Transport, Renoise excels along your other audio applications. Download a demo from our website and give it a try: Renoise Demos for Windows, MacOSX and Linux

This guide is a step by step tutorial into the world of Black Metal guitar play and will definitely be a big eye-opener for many black metal beginners.

First step: Corpsepaint

Before you start your regular practice routine, the most important thing is to apply corpsepaint. First, start off with covering your whole face with white paint. Let it try a bit, and then draw sad face with black paint. Add some finishing touches like random lines over your face and maybe pentagram, 666 and few reversed crosses. If your corpsepaint doesn’t look like shown on figure 1.1, then smear the paint all over your face and say that you like Primitive Pagan Metal better anyway.

Fig 1.1: Correctly applied corpsepaint

Step two: Set up the sound

Pick up your guitar and connect it to amp. Turn the gain all the way up. Turn bass all the way down, treble up. Make sure it’s loud and screetching enough.

Step three: Play guitar

Strum one (or two if you are more advanced) string as fast as you can while looking grim and necro. You can change chords if you want to, as long as you don’t do them too often. For beginners, playing open string will do just fine and gives specially primitive, grim and evil sound to your music.

Additional tricks

To add more evilness into the music, scream as loud as you can with high pitched voice. This technique is known in black metal circles as “Vocals”.  If your guitar playing doesn’t sound too good, then scream louder! If your hands get tired of constant picking, take a sip of beer, scream: “SATAN, GWAARRRRRR, SATAN!” or something in that direction, then stare at the wall for few seconds with grim face, say “GWARRHH” and continue playing.

That’s it. By following these directions, you should be up on the stage in no time, and let’s not forget the crazy parties at the backstage with chicks and booze! Although, black metal people don’t get too many chicks… But they are too grim anyway to want any, there will be lots of booze though!

Hey, but before continuing, why don’t you start playback on the music player on the Renoise frontpage to listen to 3 songs from the album?

Fact 1) The album was written for the RPM Challenge. Each participant gets only 28 days to write and record a full length album. Hunz managed to finish it before the deadline, which is notable in itself. But to actually deliver an album of such quality, that’s truly remarkable.Would you have been able to tell it was made in such a short period?

Fact 2) Whereas most artists tuck away their project files, Hunz decided to release them for all to see to keep the demoscene spirit alive. You can open the XRNS files with Renoise to learn ninja tracking tricks, create remixes or inspect them for inspiration.

Download “Thoughts that Move” in XRNS format:
Hunz – Thoughts that Move (XRNS files)

Official announcement with MP3 and CD:
New Album is out now, it’s free! – hunz.com.au

The word sub-noise comes from the fact of having two (or more) noise sources, the main noise, and the sub-noise(s), which build the sound upon each other.

Lately I was listening to my old song Raw, which was released on 2003 as a single. It was done with FT2 and, no surprise, isn’t of bestest of quality. I was still in the beginning of my musical experiments, but I had quite a bit of dedication back then, and I find quite many interesting elements in the song which I have forgotten, although I shouldn’t have.

Back on FT2 times, there were lots of technical limitations to the process of making music. Nowadays all those things are gone as Renoise itself is so functional that you can do anything with it. You are not limited to samples by definition, as you can apply tons of effects, also use synthesizers and stuff like that. But back then you needed to figure out your own methods to create stuff as you want and to shine out from rest of the artists. I somewhat feel bad that I have forgotten those techniques and lost parts of my uniqueness which I had back then.

Anyway, I have come back to that and started work with some new tunes, slowly rediscovering the stuff behind the things that my works different from other peoples works, not saying there isn’t any right now, but I just think the stuff like sub-noise is one of the things I shouldn’t have left behind.

Anyway, hoping that I can come up with some interesting results in near future. I will for sure, post them here.

I decided to check out the software and give my opinion about it.

No doubt that the software is really high quality. The sound it produces could fool even most clever piano freaks and it’s usable for both live and recording settings where true Piano tone is asked for. There are enough parameters to tweak, starting from the built and tone of the piano itself and ending with applied effects and microphone placement.

Linux version started smoothly on Ubuntu 9.04, of course considering the fact that all the audio tweaks were done which linux audio people do to enable higher quality realtime audio. Midi controller connections and audio configuration didn’t require any thinking either and it sounded as cool as Windows version, with no actual visible or audible differences.

The CPU consumption seemed very reasonable considering the fact that the program isn’t a sampler but an advanced acoustic modelling synthesizer and even moderate configurations are enough for advanced pianists.

Now the price. Linux version isn’t sold separately but together with Windows and Mac versions which is a good thing when you don’t want to be tied to one platform. Also, by registering you get access to free addon instruments such as selection of harpsicords, pianoforte, other types of grand pianos, electroacoustic piano and selection of bells. The registration also offers 1 year of free upgrades.

The price tag is 249€ for the program, but there are also two optional commercial addon instruments available for 49€ each, the Electric Pianos and Vibes (vibraphone). The price tag is bit salty for people who just want some piano in their mix, and these are usually better off with using free plugins such as MDA-Piano which also does the thing in most tracks, but if you are a real pianist and appreciate the high quality tone and require all the features of real piano, there is no going wrong with this instrument, the sound quality will impress you and your listeners.

Download the demo and purchase the product here: http://www.pianoteq.com/

Key Features:

• Physically modelled piano, real time sound generation
• Full dynamics – no velocity switching
• Very expressive with superb playability
• Sounds and behaves just like a real piano
• Unique tuning, voicing and design adjustments
• Piano factory – create your own piano
• Works great with any modern laptop
• Fast loading – just 20 MB in size
• Microphone placements up to 5 microphones
• Up to 5 channel output for true surround

Demo limitations:

• Some black keys are disabled
• Will shut up after 20 minutes of use

Platforms: Win (VST/RTAS/Standalone), Mac(VST/AU/RTAS/Standalone), Linux (Standalone)

Price: 249€

Haven’t had time to make any remixta podcasts for a while. This needs to be fixed, next podcast will be up next week, I have to find some time. Although both work and personal life are taking their toll of my time.

In other news, I am still working on a new software synthesizer VST. The soundcore is finished, filter implementation needs to be reworked, the GUI needs to be designed, and then we have the first release, expected somehwere in next month.

The reviewer begins the article by asking, ”has v2 been worth the wait?”. As the author digs through the new features,his initial rhetorical question is put to work, concluding with the presentation of the Computer Music magazine’s coveted ‘Value’ and ‘Performance’ awards. Great!

The May 2009 issue of Computer Music is available through newsstands or by subscription.