Mogees, a company in London, plans to change the way electronic music is performed. Their flagship product, also called Mogees, combines a high-tech vibration sensor and revolutionary music software to create one of the most unique products on the market. Mogees isn’t an instrument, so much as it is the maker of instruments; its vibration sensor allows you to place it on any object, and play it as a musical instrument.
Here is Mogees’ CEO and founder Bruno Zamborlin demoing Mogees at a TEDx event in Brussels:
The launch of Mogees is due mostly to two successful Kickstarter campaigns: one in 2014 and one in 2015. However, their enduring interest among electronic musicians is due to the sheer versatility of the product. Tired of using your coatrack to trigger samples? Why not try using a dinner plate? Or your kitchen table? The possibilities are literally endless with Mogees.
Mogees is also versatile on the digital side, allowing for use with popular production applications (Ableton Live, Logic, FL Studio, etc.), not just Mogees included (and expanding) sound library.
Look at what what percussionist Andrea Oboe was able to do with Mogees and a steel beam:
You can buy Mogees here. Even though they are based in London, they ship to anywhere in the world!
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There’s nothing more frustrating for a musician than struggling to achieve that perfect mixdown of a track. So how is it that big names producers do it flawlessly every time using easily accessible technology like Ableton and FL Studio?
Dutch EDM legend Laidback Luke may have an answer. He’s been generous enough to share the live set for his track “Steeping To The Beat,” in hopes that aspiring producers can learn from his techniques.
The first thing you might notice is just how many layers are used to make this track.
“The key to proper layering is to find the gaps in the frequencies and then fill them up with sounds that specifically stand out in those frequencies. It can be as simple as saying, “Oh, my lead sounds a bit thin right now,” and then looking for an additional sound that has a lot going on in the 300-Hz range. If it were only those two sounds, I’d EQ out some 3 kHz in the 300-Hz-type sound. And in my thin lead, I’d make sure there were no 300 Hz sounds. This way, the two would fit together like the pieces of a puzzle. Group them in one channel, put a little bit of compression in there as glue, and they’ll operate as one unit.”
A big issue many amateur producers face is a proper sound system to test their music on. While playing tracks on a big club system will give you great results, Laidback Luke actually prefers to produce using his SOL Republic Calvin Harris XC headphones.
“Over almost two decades of producing music, I’ve developed such sensitive ears that I can’t deal with the “sweet spot” in a studio environment. To me, having a sweet spot in a room means that if I move my head, the sound will change. My whole mix will sound different all of a sudden! I can’t deal with that anymore. This gets eliminated by using headphones.”
Another technique Laidback Luke recommends is testing your music against professional tracks. This way you’ll be able to keep your levels solid and replicate the energy levels you’d find in a club setting.
“One main thing I do on my headphones in order not to lose track of excessive frequencies is to constantly A/B test my production with professional tracks that I know sound good everywhere. Those tracks are the law, your maps, your guidelines to a great sound. If your tracks sound more subby, more mid-rangey or more intense than those guide tracks, you’ll know you’ll have some very wrong and harmful frequencies when you’re playing in the club.”
In today’s electronic music scene, the freshest and most innovative sounds no longer emanate from major studios, but from the corners of the world wide web. Producers with similar styles across the globe are collaborating using the Internet, but its not as simple as emailing a file back and forth. From sample collection to plug-in discrepancies, Splice solves the problems of online collaboration and contributes many valuable tools for producers to effectively collaborate.
Splice works with Ableton, FL Studio, and Logic and supports plugins. Each project that is uploaded with splice has a detailed revision timeline with an awesome user comment function. It allows for complete save reversion and finally solves the problem of overwriting others’ work. It analyzes the project file to let collaborators know what instruments and samples change between revisions. Producers can also utilize the software to share their musical progress with their fans, and have them interact with the files to make their own remixes and edits. Splice is currently in beta testing, but visit their site to sign up to be a tester. Stay tuned for more info on Splice soon, but check out this video tutorial first to get a feel for it.