Looking at the current freeware market for music creation software, as we have in this feature, it’s fair to say that there have never been as many good quality, and almost pro-sounding (and looking) freeware titles available. You could, should you wish, not spend a penny on making music; just fork out for your Mac, PC, phone or tablet, download a selection of titles and go. So what does this mean for music software developers around the world? Is it fair to say that people will tire of paying for music software? Is the subscription model the way forward? Let’s grapple with the big issues…
Is the software behind the music under threat?
The musicians who use music software have certainly benefitted more and more from cheap or free software titles. But just as these applications are falling in price and more free options are appearing, so the income from the end result – the music – has substantially fallen. Musicians have had a torrid time in recent years, helped only by a vibrant live music scene now recovering from its enforced pandemic-led hiatus. If you want to make money from music in the 21st century, live music is pretty much your main income stream, unless you have soundtrack aspirations (see last issue).
This story is from the June 2023 edition of Computer Music.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the June 2023 edition of Computer Music.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber? Sign In
BLEASS Arpeggiator
Classic synth-based arpeggiators' up-down patterns can be tedious, says Stuart Adams. Can Arpeggiator bring the variability he craves?
Synthogy Ivory 3 German D
One of the most highly regarded piano libraries around gets an update. Does it strike a chord with our reviewer, Herr Roland Schmidt?
MODALICS BITFUZZER
Distortion can be a great effect for enlivening and mashing up sounds, and this month we've got you a plugin that can do both
RADICAL RHYTHMS
From pepping up basic grooves to creating full-on 4/4-flouting madness, learn a multitude of timing tricks with our classic guide
SEDIBUS
Detaching from The Orb mothership, Sedibus is the latest project of core figurehead Alex Paterson, accompanied by former Orb-member and key creative collaborator Andy Falconer. With a studio shorthand and a shared passion for flourishing ambient textures, the pair's second record SETI gazes skyward for its inspiration. We spoke to Andy to learn more...
Sidechain compression
Sidechain compression is an excellent mixing tool and in this tutorial we pick apart this essential process
How to make a rave-style techno track
Prepare to get fists in the air as we learn the tools, tricks and tempos for nailing the basics of rave-ready techno
Make a filter kick bass with BazilleCM
Following our deep-dive into the oscillator section of BazilleCM, we follow the signal flow to create a filter-thumping bass sound
MARIA W HORN
An avid explorer of sound's spectral properties, Maria W Horn's work realises the potential of long-forgotten spaces. Via instrumental textures, room responses, the human voice and a specialised computer language, she synthesises entirely new sonics. We heard more about her processes and the at-times chilling story behind her affecting new album, Panoptikon
THE ULTIMATE GUIDE TO CREATIVE REVERB
Reverb has been relied on for its evocative sonic character ever since the first homo sapien warbled expletives into a dark cave. The transformative power of space is still a vital mix ingredient
