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In dance or hip hop music sampling, chopping is the "altering [of] a sampled phrase [or break] by dividing it into smaller segments and reconfiguring them in a different order." (Schloss 2004, p. 106)
Chopped and screwed (also called screwed and chopped or slowed and throwed) is a music genre and technique of remixing music that involves slowing down the tempo and DJing. It was developed in the Houston , Texas, hip hop scene in the early 1990s by DJ Screw .
Keykit, a programming language and portable graphical environment for MIDI music composition; Kyma (sound design language) LilyPond, a computer program and file format for music engraving. Max/MSP, a proprietary, modular visual programming language aimed at sound synthesis for music; Music Macro Language (MML), often used to produce chiptune ...
Computer and synthesizer technology joining together changed the way music is made and is one of the fastest-changing aspects of music technology today. Max Mathews , an acoustic researcher [ 9 ] at Bell Telephone Laboratories ' Acoustic and Behavioural Research Department, is responsible for some of the first digital music technology in the 1950s.
The Chopstars, also known as Chopstar DJs or simply Chopstars, are a collective that include American DJs and turntablists that perform chopped and screwed remixes of popular music under Chop Not Slop Ent. including Drake's 2011 Take Care album, as well as Little Dragon's 2014 Nabuma Rubberband album., [1] Savage Mode II from Metro Boomin and 21 Savage and Brent Faiyaz’s 2022 Wasteland.
A music sequencer (or audio sequencer or simply sequencer) is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.
In a bizarre choice, Cyrus seemed to be mostly watching the music video playing behind him on large projectors, turning only to mutter his parts of the song into the mic at a decibel too low to ...
In 1980, on National Public Radio, Mendell was interviewed about the "Computer Music Melodian", his digital sampling synthesizer. [2] This consisted of a small computer attached to a synthesizer, an amplifier, and a tape deck; Mendell commented, "It can take any sound, and it can store that sound in its memory, and then it can sound like whatever you entered into it.