I won't pretend that Fair Use is riveting. But it's something you need to understand if you want to sample material that isn't your own.

This piece is available in full here and the Centre for Social Media has a lot more to help you get your head around Creative Commons law and Fair Use.

Why does any of this concern me? Well, it affects my VJing work, for one. I've not yet met a VJ who doesn't use a single sample in their set. Neither have I met a VJ who's entirely comfortable about their legal footing in doing so.

But a VJ should aspire to sample less and less as they develop. There's a lot of insight in the book and DVD by D-Fuse and Michael Faulkner on this subject.

And whatever you're doing, whether it's original or sampled, it should be transformative. That's the whole point.

I think reading up on Fair Use is an effective way to quality control your work and ensure you stand out from the YouTube mash-ups. I'd recommend it.

Remix and musical collaboration websites are becoming extremely popular nowadays and CCmixtster is a well respected one. Very simple concept: upload your tracks for others to remix and arrange them. You can upload an a cappela track indicating the key and tempo in which you're singing and have someone produce the instrumentals. You can upload that guitar track we were talking about and have a singer give it a try. Basically these sites makes it easy to get your music in the hands of others for the purpose of collaborating and sharing talents.

I would recommend checking out these sites as well:

• IndabaMusic: Incredible website for songwriters. Very professional approach to the musical collaboration process encompassing a dynamic social network. Create a session and invite people from the community to join and upload their ideas.
• Kompoz: Great website for music collabs. Simple interface, strong social architecture, this is definitely a place to start off.
• Wemix: Mainly focused on hip-hop artists for the creation of mix-tapes, WeMix was founded by Ludacris. The site has some powerful tools for remixing audio and video but lacks flexibility for its collaboration purposes. It has more to do with playing around with their audio/video editor then networking. Then again it's  pretty fun, and it's currently generating a lot of interest. Plus they just singed some deals to turn your phone into a microphone. Users will be able to upload their recordings directly to the site (if I got it right).
• Jamglue: Very interesting site with an integrated audio sequencer. You upload tracks and mix. You can also open other sessions and remix those.  Their simple interface makes it easy to get started in no time.
• Remix.nin: Nine in Nails remix site. Trent gives out some of his tracks so we can fool around with them. BradSucks is an indie artist who started doing this with his own music and got massive recognition from it. Great idea, all bands should do this!

This new approach to creating music goes far beyond just needing extra inspiration for your songs. It's more about finding the right people to work with and creating real interaction with musicians from around the globe. You can see it as a supply and demand type of relationship. Whether you'll need a tabla player, a swing drum beat, a guitar-hero style tapping technique for a tune, all these websites will make it a hell of a lot easier to come by. Heck, you planning on playing a show in a town and need an extra guitarist to fill up some songs, find one in your target location ahead of time and send him your tracks. This could be a great way to diversify your style and have him bring his friends to your show. Unlimited possibilities are coming our way so let us embrace them in the name of the doggy.

Mruff, miaou, roar.

Toronto street artist Posterchild went to New York this month and transformed digital ad platforms into stained-glass graffiti installations. Watch the video below. (via)

[dailymotion id=x5t3kf]

At the same time, the CutUp Collective are removing London ad posters wholesale, cutting them into thousands of bits, then reconfiguring the display space with their recycled material. (via)

Do corporate identities represent the last big remix taboo? Now that brands are present in social online spaces, will they ever let themselves be personalised?

Or is it left for the street artist to educate them in humanity?

Previously: Brand logos remixed; Skullphone hijacks New York billboards.

By the way, I chose a really stupid DJ name, so you don't have to tell me, I already know.

I used Audacity to mix these.

Restraining Order (Perfect Exceeder vs. You Keep Me Hangin' On) - Mason vs. The Supremes

Heartbroken in Japan (Kyoto Nights vs. Don't Leave Me This Way) - Ran Shani vs. Thelma Houston

Crepuscular Love (Twilight vs. Let's Get It On) - Adam K & Soha vs. Marvin Gaye

Danish artist Nadia Plesner devised this design to raise money for Darfur.

Louis Vuitton aren't happy about her fundraising activities (full story here), citing an infringement of "Intellectual Property Rights".

"Intellectual Property"?

Wow. How contrary. Brands want us to love, cherish, kiss and hug them. Online, they want us to play with them, tickle them, retouch them (I'm thinking sneakers and labels - Beck's Fusions last year comes to mind).

They want us to remix. Because they know we like to remix. But only if it's on their terms and, preferably, their microsite.

This attitude's so retro it's almost charming. But not quite. And far less charming for its PR stupidity. They could have easily supported the campaign and added buckets to their brand greenwash. Not to mention dirtied dollars to the Darfur appeal.

I'm with Brazilian designer Mario Amaya (see below). Let's get remixing brands, whether they like it or not. If they want to be in our lives, they need to be taught how the real world shakes today.

Related: Boosh vs. Honey Monster, Round 1.

Essential: The Pirate's Dilemma - We Invented the Remix.

Previous: Segway Watch - the Future Goes Social.

Brian at Copyblogger rhetorically asked if one could make a living from publishing white papers for free, mass consumption online. His answer was (of course) yes, and he made reference to a former colleague who makes $300,000 a year from doing so. As one would expect, his tips for success are freely available from here.

This business model is described as content marketing. Earlier this week, Joe of Junta 42 once again practiced as he preached by releasing an updated version of his 42 top Content Marketing blogs. A fantastic resource linking to some great blogs; the original release was how I heard about his blog. And since then I have become an avid subscriber (if not paying customer).

One blog currently not on there is Jonny Bentwood's Technobabble2.0. He has just followed up his white paper on social media with an analysis of the quality of other analysts' Twitter/microblogging usage. Go check it out.

So, is this the future of content creation? The free distribution online sets the brand up and creates buzz, and a (possibly supplementary) living can be earned from speaking engagements and corporate training sessions.

The basic content is therefore free, with the revenue coming from incremental business based around that - books (special editions) and face-to-face sessions (live events). Now where have I heard this before?

Since some critics argue that what works for Radiohead and Nine Inch Nails (the link takes you to their brand new free album - The Slip) doesn't work for Joe Average, is this a model that all bloggers can aspire to?

My answer is yes; if the quality, the luck and the will to succeed are there. Like I hadn't heard of Joe before someone linked to his blog, I hadn't heard of Black Kids before I saw a Pitchfork article and a link to their free EP. And now they're on Universal. Ticket sales and merchandising, rather than CD sales, is how they will be getting paid.

And as a final point, it is interesting to note that the material I linked to from Joe and Jonny takes publicly available knowledge, adds some special sauce, et voilá. An original, insightful piece of work. Remixing, in other words.

sk

From the site:

ccMixter is a community music site featuring remixes licensed under Creative Commons where you can listen to, sample, mash-up, or interact with music in whatever way you want.

Kerim Friedman sets the stage for the session using case studies of Wikipedia, Flickr, and the international blogosphere to assess the risks and benefits of online collaborative authorship for anthropology, paying specific attention to the ways in which scholars "extend existing institutional, commercial and legal regimes to these new online fora." Todd Harple follows with examples from his interdisciplinary team-based work with the Intel Digital Home Group, suggesting that new forms of collaboration will ultimately require us to rethink traditional notions of anthropological authority. Kimberly Christen models this, finding "the potential for a new way of thinking about collaboration, information, and access" through her work with the Warumungu community in Australia encoding indigenous protocols into a digital archive. While many anthropologists are reluctant to embrace these technologies, Eric Kansa points out that many communities now "discuss, experience, and understand 'culture' via online social mechanisms." Kansa looks at how these mechanisms allow people to participate in the co-creation of narratives and histories about places. Our last two panelists suggest that there are also unexplored collaborative modes of ethnographic presentation. Casey O'Donnell explores the possibilities of a video-game ethnography, while Michael Wesch considers the poetics of data mashups that aggregate the masses of live data people continuously produce as they live their everyday lives.

A blog maintained by the panelists at http://remixinganthropology.wordpress.com will document the development of these papers in the months ahead and allow for discussion to continue online after the conference is over. The blog will also serve as a repository of digital media (documents, videos, games, etc.) related to the panel.

There's been a bit of buzz recently on more ed tech blogs than I think I can refer to about using blogs as a delivery host for opencourseware as PLE-inspired learning content. This branches off of that thought by demonstrating a very quick-and-dirty method of targetting chunks of content from various sources in order to remix a customized online "lesson".

In short, this is a tutorial-in-lieu-of-a-lousy-conference-presentation for those who are unfamiliar with the tools or need orientation to an approach.

Preparation

You'll need:

ol.tutorial li { margin: 1em auto 12px; font-size: 30pt; list-style-position: inside; padding-top: 4px}
ol.tutorial li p { font-size: 10pt }
ol.tutorial li a img { border: 1px solid blue; margin: 0; padding: 0; }

1. A Google account set up for Google Notebook and Google Docs & Spreadsheets

2. Mozilla Firefox Web browser with the Google Notebook add-on
3. A collection of topic-related Web pages or documents from which to remix
4. A basic outline of the lesson to be composed/remixed (pref. with objectives)

I expect that this process can also be done with Zoho using the Zoho Notebook Helper add-on for Firefox, however I've not worked through this process myself.

The importance of having the last element, an outline of the lesson, should not be underestimated. The hardest part of this task is staying focused and organized. I tend to take a kitchen-sink approach, throwing everything together and sorting it out later, but having a clear outline of what you want your lesson to include from the beginning sets up a checklist of sorts from which you can search and order information.

As for information sources themselves, there are an increasing number of Creative Commons-licensed or public domain materials available on the Web that can be remixed into an online lesson. Some of these are materials specifically authored for education (e.g. MIT OpenCourseWare, Open Yale Courses, UK Open University's OpenLearn), others are collaboratively authored repositories (e.g. Wikipedia), and some are already in the publich domain (e.g. Project Gutenberg. Of course, copyrighted materials can be quoted and cited within reason, and Google Notebook helps you preserve source information for citations.

Quick Tutorial

Disclaimer: the sources and excerpts used in this example are merely for demonstration purposes and should not be reflective of a well-remixed or structurally complete lesson!

1. 

   First, create a new Google Notebook for the lesson with title.

2. 

   Using your lesson outline, seek out your information sources on the Web. Select a passage and right-click to activate the Firefox Google Notebook Add-on. Choose Note this (Google Notebook). This passage is now an excerpt copied into your Notebook. You'll notice that the Google Notebook Add-on opens a preview window in the lower-right-hand corner of your screen. You can type your own commentary or notes here to include with the quoted passage.

3. 

   Repeat this for all your information sources on the Web, selecting passages you wish to use as an excerpt in the lesson, right-clicking, and choosing Note this (Google Notebook).

4. 

   Do the same for sources that you may wish to condense, rewrite, summarize, or paraphrase information from. You'll be able to edit your Notebook in a minute. Because there's so much information out there, it's fine to collect more than you need. At the same time, using a lesson outline from the beginning will help you stay focused and not stray from your teaching objectives.

5. 

   Don't worry about noting sources out-of-order; Google Notebook will let you re-arrange your sources.

6. 

   When you've completed your grab of sources, simply click Open Full Page from the Google Notebook add-on. This will open up your Google Notebook with all quotations. Each excerpts is preceded by the title of the Web page from which it came, and a hyperlink to the Web site for citation purposes.

7. 

   You can type directly in the notebook to draft introductions, conclusions, additional information, or segways from one piece of information to another. Again, having a solid lesson outline here is very useful.

8. 

   By mousing-over the left-side of source excerpts, you'll find that you can left-click and drag excerpts above or below other excerpts or text sections that you've written. This makes it easy to rearrange the excerpts to match your lesson outline.

<!--

9. 

   At this point you need to decide if you

10. 

-->

11. 

    Once you've finished your rough edit of your lesson, you'll need to send the saved Notebook to Google Docs for finish editing and publishing to your blog. Under Tools on the top-right, choose Export to Google Docs.

12. 

    While Google Notebook is the best place to perform basic structural edits to your document because of the drag-n-drop feature, Google Docs have slightly more sophisticated formatting features to choose from for your finish edits. After you've completed editing and formatting your lesson in Google Docs, click the Publish tab to send this to your blog.

13. 

    In the Publish tab you'll need to click change your blog site settings and work through the few form fields to point to your own blog for publishing (e.g. blog hosting server, username, password, blog title). Click Test before finishing by clicking OK.

14. 

    An alert will ask you to confirm publishing. Note that after you've published, you can in fact make edits to your Google Doc and republish to your blog, overwriting the original blog post using nearly the same process we just did.

15. 

    After publishing, go to your blog and review your re-mixed lesson! Remember, you can edit your Google Doc and republish at any time, however if you want to add to your lesson starting from Google Notebook you are better off deleting the original blog post and Google Doc and re-exporting from step 9. Using the Firefox add in for this process preserves text, images, and hyperlinks from the source all the way to the published blog, however I've not had any luck preserving embedded video files.

OK, this creates an admittedly rough looking lesson, but it's a fast method of remixing open content, especially if one has a good outline and is familiar with what's available.

One idea that I haven't played with is using Google Desktop with Notebook to grab pieces from files on my local computer. I've actually never used Desktop, but it's been suggested that this would be possible.

There's been a bit of buzz recently on more ed tech blogs than I think I can refer to about using blogs as a delivery host for opencourseware as PLE-inspired learning content. This branches off of that thought by demonstrating a very quick-and-dirty method of targetting chunks of content from various sources in order to remix a customized online "lesson".

In short, this is a tutorial-in-lieu-of-a-lousy-conference-presentation for those who are unfamiliar with the tools or need orientation to an approach.

Preparation

You'll need:

ol.tutorial li { margin: 1em auto 12px; font-size: 30pt; list-style-position: inside; padding-top: 4px}
ol.tutorial li p { font-size: 10pt }
ol.tutorial li a img { border: 1px solid blue; margin: 0; padding: 0; }

1. A Google account set up for Google Notebook and Google Docs & Spreadsheets

2. Mozilla Firefox Web browser with the Google Notebook add-on
3. A collection of topic-related Web pages or documents from which to remix
4. A basic outline of the lesson to be composed/remixed (pref. with objectives)

I expect that this process can also be done with Zoho using the Zoho Notebook Helper add-on for Firefox, however I've not worked through this process myself.

The importance of having the last element, an outline of the lesson, should not be underestimated. The hardest part of this task is staying focused and organized. I tend to take a kitchen-sink approach, throwing everything together and sorting it out later, but having a clear outline of what you want your lesson to include from the beginning sets up a checklist of sorts from which you can search and order information.

As for information sources themselves, there are an increasing number of Creative Commons-licensed or public domain materials available on the Web that can be remixed into an online lesson. Some of these are materials specifically authored for education (e.g. MIT OpenCourseWare, Open Yale Courses, UK Open University's OpenLearn), others are collaboratively authored repositories (e.g. Wikipedia), and some are already in the publich domain (e.g. Project Gutenberg. Of course, copyrighted materials can be quoted and cited within reason, and Google Notebook helps you preserve source information for citations.

Quick Tutorial

Disclaimer: the sources and excerpts used in this example are merely for demonstration purposes and should not be reflective of a well-remixed or structurally complete lesson!

1. 

   First, create a new Google Notebook for the lesson with title.

2. 

   Using your lesson outline, seek out your information sources on the Web. Select a passage and right-click to activate the Firefox Google Notebook Add-on. Choose Note this (Google Notebook). This passage is now an excerpt copied into your Notebook. You'll notice that the Google Notebook Add-on opens a preview window in the lower-right-hand corner of your screen. You can type your own commentary or notes here to include with the quoted passage.

3. 

   Repeat this for all your information sources on the Web, selecting passages you wish to use as an excerpt in the lesson, right-clicking, and choosing Note this (Google Notebook).

4. 

   Do the same for sources that you may wish to condense, rewrite, summarize, or paraphrase information from. You'll be able to edit your Notebook in a minute. Because there's so much information out there, it's fine to collect more than you need. At the same time, using a lesson outline from the beginning will help you stay focused and not stray from your teaching objectives.

5. 

   Don't worry about noting sources out-of-order; Google Notebook will let you re-arrange your sources.

6. 

   When you've completed your grab of sources, simply click Open Full Page from the Google Notebook add-on. This will open up your Google Notebook with all quotations. Each excerpts is preceded by the title of the Web page from which it came, and a hyperlink to the Web site for citation purposes.

7. 

   You can type directly in the notebook to draft introductions, conclusions, additional information, or segways from one piece of information to another. Again, having a solid lesson outline here is very useful.

8. 

   By mousing-over the left-side of source excerpts, you'll find that you can left-click and drag excerpts above or below other excerpts or text sections that you've written. This makes it easy to rearrange the excerpts to match your lesson outline.

<!--

9. 

   At this point you need to decide if you

10. 

-->

11. 

    Once you've finished your rough edit of your lesson, you'll need to send the saved Notebook to Google Docs for finish editing and publishing to your blog. Under Tools on the top-right, choose Export to Google Docs.

12. 

    While Google Notebook is the best place to perform basic structural edits to your document because of the drag-n-drop feature, Google Docs have slightly more sophisticated formatting features to choose from for your finish edits. After you've completed editing and formatting your lesson in Google Docs, click the Publish tab to send this to your blog.

13. 

    In the Publish tab you'll need to click change your blog site settings and work through the few form fields to point to your own blog for publishing (e.g. blog hosting server, username, password, blog title). Click Test before finishing by clicking OK.

14. 

    An alert will ask you to confirm publishing. Note that after you've published, you can in fact make edits to your Google Doc and republish to your blog, overwriting the original blog post using nearly the same process we just did.

15. 

    After publishing, go to your blog and review your re-mixed lesson! Remember, you can edit your Google Doc and republish at any time, however if you want to add to your lesson starting from Google Notebook you are better off deleting the original blog post and Google Doc and re-exporting from step 9. Using the Firefox add in for this process preserves text, images, and hyperlinks from the source all the way to the published blog, however I've not had any luck preserving embedded video files.

OK, this creates an admittedly rough looking lesson, but it's a fast method of remixing open content, especially if one has a good outline and is familiar with what's available.

One idea that I haven't played with is using Google Desktop with Notebook to grab pieces from files on my local computer. I've actually never used Desktop, but it's been suggested that this would be possible.

No hablar español? Read this post in English

La tienda francesa de música digital neuf ha creado una publicidad que lleva el remix un paso más allá: remix de portadas de discos.

Más collages aquí.

Actualización: El artista visual Christian Marclay ya había experimentado con estas combinaciones:

Más fotos de su trabajo aquí

Album covers remixing

French digital music store neuf has created some really cool ads, which take remixing and mash-ups a step further: album covers remixs.

More collages here

Update: Visual artist Christian Marclay experimented already with this kind of combinations:

Click here to see more samples of his work

Ableton Live 7 renews the core of Live, with enhancements to the audio engine including 64-bit mix summing, new and improved devices with side-chaining capability, better MIDI timing and hardware integration. We have also included the most-requested features, such as time signature changes, video export, multiple automation lanes and much more. Version 7 marks the arrival of the new "Drum Rack" which streamlines beat production via an easy drag-and-drop interface and offers native sliced audio and REX file support, bringing endless creative possibilities to beat lovers.

Live 7 Features:

• Multitrack recording up to 32-bit/192kHz
• Complete nondestructive editing with unlimited undo
• Powerful and creative MIDI sequencing of software and hardware instruments
• Real-time time-stretching and warping of AIFF, WAV, Ogg Vorbis, FLAC and MP3 files, for improvisation and instant remixing
• A comprehensive selection of built-in audio effects, including a host of creative delays, filters, distortions, studio compressors and EQs
• Built-in software instruments: Simpler for creative sample-based synthesis, Impulse for sampled drums
• Instrument-, Drum-, Effect Racks for creating and managing complex performance setups, drum kits and multi-effects
• VST and AU effects and instruments support; automatic plug-in delay compensation
• REX file support and native sliced audio file creation
• Video import and export for scoring to picture or warping picture to music
• Real-time control of parameters with any MIDI controller—just MIDI-map it or choose from a list of popular supported controllers for instant mapping
• Full ReWire support
• Single-screen user interface for simple, creativity-focused operation
• Multicore and multiprocessor support

Also Includes:

• Essential Instruments Collection 2 — A multi-gigabyte library of meticulously sampled instruments providing a choice selection of acoustic and electric pianos, guitars, bass, drums, orchestral strings, brass, woodwinds and more. (boxed version only)
• Loops and construction kits: Unnatural Selection by (boxed version only)
• Printed reference manual in English, Spanish, French, German or Japanese (boxed version only)
• Extensive built-in step-by-step tutorials
• Localized software menus, tutorials, and PDF reference manuals available in English, Spanish, French, German and Japanese

System Requirements:

Mac: Any G4 or faster, (Intel Mac recommended) 512 MB RAM (1 GB recommended), Mac OS X 10.3.9 (10.4 or later recommended), QuickTime 6.5 or higher, DVD-ROM driveWindows: 1.5 GHz CPU or faster, 512 MB RAM (1 GB recommended), Windows XP or Windows Vista, Windows compatible sound card (ASIO driver support recommended), QuickTime 6.5 or higher, DVD-ROM drive

Version 7 Renews the Core of Live

Enhanced Audio Engine

Live 7's enhanced audio engine improves fidelity with precision 64-bit summing at all mix points throughout the program, POW-r dithering, optimized sample-rate conversion and other advances.

New Compressor

The new compressor device integrates the compression models of Compressor I and II, and offers a new model based on a feedback design commonly found in the most praised vintage compressors. The new sidechaining feature allows other audio signals to trigger the compressor.

Sidechaining

The sidechaining feature in Auto Filter allows another audio signal to modulate the filter's envelope follower and trigger the gate in the Gate device.

Device High-Quality Modes

Operator, Dynamic Tube and Saturator now feature optional High-Quality modes for anti-aliased processing, reducing typical "digital" artifacts.

EQ Eight - New and Improved

EQ Eight sports an improved user interface and a new 64-bit mode for increased accuracy and fidelity.

Introducing Spectrum

The new Spectrum device is an analyzer that provides real-time visual feedback for any audio signals within Live. Spectrum's analysis window can be enlarged for more detail and shows note names as well as frequency and amplitude.

Improved MIDI Timing

The MIDI engine has been reworked and we were able to significantly reduce timing error (jitter) of recorded MIDI.

Easy Hardware Integration

The External Instrument device handles MIDI and audio routing and can be used to streamline the routing of hardware synths, multi-timbral plugins and ReWire devices. The External Audio Effect device routes audio to and from user-specified ports of your audio hardware, which allows you to insert hardware effects boxes into a track's device chain. Both devices automatically compensate for any latencies introduced by audio and MIDI interfaces.

Enhanced Memory Management

New memory management technology allows users of large sample libraries, such as Ableton's new sampled instruments or third-party libraries imported via Sampler, to run an impressive number of instruments at the same time. This happens automatically, with no setup changes required.

Audio Engine Fact Sheet

The Audio Engine Fact Sheet explains exactly how signals are (or are not) being modified when performing fundamental audio operations in Live, and provides tips for achieving the highest quality results.

MIDI Engine Fact Sheet

The MIDI Engine Fact Sheet documents MIDI timing tests on both Windows and Mac platforms using various MIDI interfaces and describes exactly what users can expect in terms of MIDI timing accuracy. Coming Soon.

Live 7 Brings the Most Requested Features

Time Signature Changes

In the Arrangement View, time signature changes are represented by markers at the top of the scrub area. Time signature changes can be added from the Insert menu or via the context menu.

In the Session View, scene names can trigger time signature changes in addition to tempo changes. When launching scenes in the Session View, time signature changes can be recorded into the Arrangement.

Video Export

Video that has been edited or warped in Live can be exported to a new file.

Easier Automation

Each automated parameter can be shown in its own automation lane. Automation lanes can be reordered via drag and drop.

Tempo Nudge

The tempo nudge temporarily speeds up or slows down the tempo for easier synchronization. This feature can be mapped to any MIDI controller.

REX Support

REX files can be dragged, dropped and played just like WAV or AIFF files.

Many Other Important Improvements

Live, Operator and Sampler have received many important improvements and additions based on users' requests.

References: http://www.ableton.com/

Build a smaller-sized version of Apple's GarageBand music making software right into the iPod.

Why?

So we can make our own tunes man!

And remix "A Cappellas" with our own beats!

And sell our own productions on iTunes!

It's all about user-generated content ...

When will the iPod jump on the Web 2.0 bandwagon?

But Why?

Because that would totally rock!

Can it be Done?

In '02/'03 I invested in a project where we made a version of GarageBand for the Gameboy Advance. The prototype worked fine (with 8 tracks, real-time BPM matching and anti-clipping) but in 2003 the VCs had left town and no one was investing :D ... Nintendo's licensing and cartridge manufacturing costs were the key cost barriers.

The iPod (and specially the Video iPod) uses a much more powerful processor than the Gameboy Advance. So it should be able to go up to 16 tracks (or more) and have complex synthesizers, drum machines and sound effect generators (e.g. see FruityLoops) so users can make killer loops (aka "samples")! Users would hunt for and gather samples (i.e. trade them on forums, blogs, etc) as well as open source their amateur productions.

Now that's what I call impulsive consumption and production!

And You Don't Have to Wait for Apple to Do it!

Check out Rockbox. They don't have it yet but I don't see why they couldn't build it for the iPod.

P.S. This post was not written to generate traffic :P

Posted by Marc Fawzi

Tags:

ipod, apple, music, itunes, mp3, mp3 player