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Music software is the internal programming of computers that supports musical production. Music software has been around for nearly 40 years.

and, in musical terms, it is essentially conservative". Since the term rock began to be used in preference to rock and roll from the late-1960s, it has often been contrasted with pop music, with which it has shared many characteristics, but from which it is often distanced by an emphasis on musicianship, live performance and a focus on serious and progressive themes as part of an ideology of authenticity that is frequently combined with an awareness of the genre's history and development.[20] According to Simon Frith "rock was something more than pop, something more than rock and roll. Rock places a higher degree of emphasis on musicianship, live performance, and an ideology of authenticity than pop music. It is, "provided from on high (by record companies, radio programmers and concert promoters) rather than being made from below ... From about 1967 the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.[12] Whereas rock aspired to authenticity and an expansion of the possibilities of popular music,[12] pop was more commercial, ephemeral and accessible.[13] According to Simon Frith pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" and "doesn't come from any particular place or mark off any particular taste". It is "not driven by any significant ambition except profit and commercial reward ... Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes in addition to romantic love: including sex, rebellion against "The Establishment", social concerns and life styles.[10] These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm and blues.[15] Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, and asserts that rock's primary "function" "pertains to music, or, more generally, noise."[16] The predominance of white, male and often middle class musicians in rock music has often been noted[17] and rock has been seen as an appropriation of black musical forms for a young, white and largely male audience.[18] As a result, it has been seen as articulating the concerns of this group in both style and lyrics.


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MIDI (/ˈmɪdi/; short for Musical Instrument Digital Interface)

MIDI (/ˈmɪdi/; short for Musical Instrument Digital Interface) is a technical standard that describes a protocol, digital interface and connectors and allows a wide variety of electronic musical instruments, computers and other related devices to connect and communicate with one another. A single MIDI link can carry up to sixteen channels of information, each of which can be routed to a separate device. MIDI carries event messages that specify notation, pitch and velocity, control signals for parameters such as volume, vibrato, audio panning, cues, and clock signals that set and synchronize tempo between multiple devices. These messages are sent to other devices where they control sound generation and other features. This data can also be recorded into a hardware or software device called a sequencer, which can be used to edit the data and to play it back at a later time. Some composers may take advantage of MIDI 1.0 and General MIDI (GM) technology to allow musical data files to be shared among various electronic instruments by using a standard, portable set of commands and parameters.


MPEG-1 or MPEG-2 Audio Layer III, more commonly referred to as MP3

MPEG-1 or MPEG-2 Audio Layer III, more commonly referred to as MP3, is an audio coding format for digital audio which uses a form of lossy data compression. It is a common audio format for consumer audio streaming or storage, as well as a de facto standard of digital audio compression for the transfer and playback of music on most digital audio players. The compression works by reducing accuracy of certain parts of sound that are considered to be beyond the auditory resolution ability of most people. This method is commonly referred to as perceptual coding.

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