DJOYtech

Wizdom Music’s Jordantron Synth Is Packed With Features

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The list of iOS apps aimed at producers and musicians is getting truly impressive. There are apps for just about everything from basic synths and recording, to full on production DAWs and audio mastering apps. What makes the latest app from Wizdom Music stand out, isn’t what it is per se – it’s their newest synth/MIDI control platform the Jordantron – it’s also about who’s behind the sounds that are coming out of it.

Based on the musical musings of Dream Theater keyboardist Jordan Rudess, the Jordantron is a pretty cool synth built around a massive collection of patches and samples from one of music’s more respected keyboard savants.

The Jordantron actually encompasses two different keyboards, one controlling a blendable “ABCtron” and another controlling the “Dtron.” The Dtron keyboard occupies the space dedicated to chord pads, but given what the video below is showing us, we doubt the chord pads will be missed too much.

The Jordantron also allows for VOICEBANKs to be loaded using MIDI Program Change, so the iPad screen never needs to be touched during performance.

According to the Wizdom website, Jordantron will turn your iPad into the “most epic sounding instrument ever.”

Features:

  • 57 sampled stereo instruments, 940MB of samples
  • 4 octave samples per voice, 6 playable octaves
  • voices categorized by ‘velocity sensitive’, ‘leads’, ‘orchestral / choral’, ‘pads’ and ‘strings’
  • velocity sensitivity on selected voices
  • decay tails on selected voices
  • octave shift keys to extend range of on-screen keyboard
  • ‘half-speed’ tape mode
  • 12 programmable chord pads
  • warm, lush stereo reverb
  • 32 ‘VOICEBANKs’ holding voice, reverb and ABC blend settings for instant retrieval
  • giant ‘Jordan-style’ whole octave divebombs (configurable as whole tone or whole octave downshift)
  • support for multiple simultaneous instruments via MIDI
  • ‘oscillotron’ waveform display

Jordantron is available in the App Store for $9.99.

You can check out the full rundown on Wizdom’s Jordantron product page, and check out the pretty thorough introduction video below.

Remix Steve Aoki, Win Loot!

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Oh yeah baby! All those dreams of EDM superstardom are just over the horizon. And if you jump on this remix contest that Steve Aoki and Guitar Center are pushing, they might be closer than you think.

What’s at stake:

  • studio time with the cake master himself
  • your brand new single executive produced by Aoki and dropped on Dim Mak
  • you’ll get to open for Steve and maybe throw a cake with him, or maybe ride the raft to pick up groupies
  • ten grand cash money.
  • new gear from Pioneer, Avid, Electro-Voice, GoPro and 8DM
  • a feature in Electronic Musician Magazine
  • distribution and publishing support from Tunecore

“OK,” you’re saying. “But how do I jump on this wonderful opportunity at stardom and the lush life?”

It’s pretty simple. Head over to the contest page, and register.

Download the stems to Aoki and Kid Ink’s “Delirious.”

Make a fabulous video of you performing your remix. If you do it on a green screen, you can add lizards and lasers and cake to the mix. They do expect something entertaining, so we’d avoid a looping shot of you on the couch. They’re judging you on it. If you want inspiration, or to make sure you’re not doing what everybody else is doing, the leaderboard for the media portion of the contest is full of entries already.

Upload the video to Youtube, and then embed it in the channel you got when you registered for the contest.

Once the remix is done and the video is up, flog that shit to your friends and family. Yes, this contest is almost as much about how much buzz you can generate as it is about the music. But it’s Aoki, so what did you expect? Spectacle is the man’s stock and trade.

After that it’s all about the judging, which you can read about here. While Aoki won’t be sorting through everything that’s submitted, he will be picking the winner from the selections that make it through the initial rounds.

IMPORTANT DETAIL: Everything has to be done and uploaded by 11:59:59 p.m. eastern standard time on Oct. 31, 2014.

Now, all that being said, we really suggest reading the rules carefully. There are lots of little make-or-break details that we’re not going to type out here. No sense in blowing all that loot because you didn’t read the fine print.

Native Instruments Teases the Traktor Kontrol S8, DJs Everywhere Start Drooling

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After months of speculation and rumors floating ‘round the interwebz, Native Instruments has finally let cat out of the bag: the new Traktor Kontrol S8 is set to be a jog-wheel free controller with a pair of displays that pull all the relevant info directly from Traktor Pro.

So what can we actually tell you about it, other than the exclusion of jog-wheels from the new setup and twin screens?

  • The screens look incredibly crisp and clean, which is nice in a mostly dark environment with lots of sudden flashes. Whether or not this holds true once the product goes to retail remains to be seen. They also show each screen as capable of displaying two decks simultaneously on each screen.
  • The grouping of four faders underneath each of the screens seems to indicate that the Kontrol S8 will put a lot of focus on the remix decks. Those four faders really do look like they’re integrating remix deck controls as a standard part of the their controller setup a la the F1.
  • The effects filters look like they’ve got dedicated on/off switches for each channel.
  • The touchpads have full-color RBG backlights and no labeling, indicating they’ll be mapped for cue point or remix deck samples and clips.
  • Like the Kontrol Z2, there are Traktor buttons beneath the gain knobs, so the best bet is that this’ll be a standalone mixer with the ability to bring in external input lines. This means turntables are doable, and that means the S8 will likely be Traktor Scratch-certified.
  • The jog-wheels look like they’ve been replaced with touch strips, which in and of themselves lend to all sorts of gesture control functionality.
  • The decks feature touchpads with switchable modes including hotcue triggering, loops, freeze and remix.
  • The Capture and Edit buttons give the impression that the Kontrol 8 is going to have some serious recording and remix deck functionality, much like the Kontrol F1.

We should qualify all of this by saying that, until the actual piece of kit drops, it’s all speculation and guess work on our part. But stay tuned, we know this one is going to be big.

Peep the video teaser below and keep your eyes on the Traktor Kontrol S8 product page for more details, which Native Instruments is promising plenty of in the near future.

DJOYbeat World Premiere: Tritonal & Paris Blohm feat. Sterling Fox – “Colors (Estiva vs. Juventa Remix)”

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Trance fans rejoice! As of today the well-regarded Enhanced Sessions compilation has released their fourth volume into the wild and DJOYbeat has an exclusive world premiere of Estiva & Juventa’s remix of Tritonal & Paris Blohm’s “Colors” feat. Sterling Fox.  It’s a doozy of a big room banger, with a delicate, pretty build into a stadium-sized drop and a lush crescendo of synths and intensely uplifting vocals.

Nobody’s ever accused EDM of having the deepest lyrics in the world, but that’s OK. We’re not looking for something we can dissect in a dorm room at 2 a.m. for its deeper social meaning. We’re looking for something we can sing out loud that makes us feel like the world is going to be OK even if everything on CNN and the local news says otherwise. We want something that will make us happy and joyful and makes us want to dance until we can’t move. And that’s exactly what Estiva & Juventa have delivered with this remix. It’s got a catchy melody, dreamily positive lyrics, driving beat and enough energy to keep you going until you drop from dehydration (which we don’t recommend, remember to hydrate often and with enthusiasm).

You can purchase Enhanced Sessions Vol. 4 including Estiva & Juventa’s remix of “Colors” in the iTunes store. The single is album only but don’t worry, the whole thing is worth your hard-earned cash. Check out the full track listing below.

Enhance Sessions Vol. 4

Disc 1 –Estiva

01. Hokima – Kino (Original Mix)

02. Estiva & The Spacies – Voices (Estiva Mix)

03. Kago Pengchi – The Phantom (Original Mix)

04. Fon.Leman – Cerberus (Original Mix)

05. Donati & Amato – Invincible (Original Mix)

06. Chris Ramos feat Juvon Taylor – Just Wait For It (Original Mix)

07. Speed Limits & Jaco feat. Joni Fatora – Palm Of Your Hand (Original Mix)

08. Estiva feat. Sarah Russell – Feels Right (Original Mix)

09. Daniel Kandi feat. Sarah Russell – Change The World (Estiva Remix)

10. Estiva – Boxmeister (Original Mix)

11. Tritonal feat. Jonathan Mendelsohn – Satellite (Extended Mix)

12. Alex Klingle – Phase Shift (Original Mix)

13. Tritonal – Anchor (Original Mix)

14. Kevin Charm – Sydneysider (Original Mix)

15. LTN feat. Christina Novelli – Feeling Like Yeah (Alexander Popov Remix)

16. Estiva – Shoesham (Original Mix)

17. Tritonal & Paris Blohm feat. Sterling Fox – Colors (Estiva vs. Juventa Remix)

18. Misha Kitone & K.S.Y. – Champions (Original Mix)

19. Estiva – Let It Go (Original Mix)

Disc 2 – Juventa

01. Juventa – NTRMZ (Original Mix)

02. Aruna – Start A Fire (Mr. FijiWiji Remix)

03. Chris Ramos & MC Flipside – What You Waiting For (Original Mix)

04. Kago Pengchi – Sinabro (Original Mix)

05. Cole Plante feat. Ruby O’Dell (with Myon & Shane 54) – If I Fall (Juventa Remix)

06. Wrechiski – Vice Chase (Original Mix)

07. Juventa feat. Kelly Sweet – Superhuman (Original Mix)

08. Juventa – Torque (Original Mix)

09. Favright – Green Storm (Original Mix)

10. Suspect 44 – The End (Blend Pres. Volant Remix)

11. Tritonal feat. Phoebe Ryan – Now Or Never (Estiva vs. Juventa Remix)

12. BT feat. Christian Burns – Paralyzed (Original Mix)

13. Speed Limits – Petrichor (Original Mix)

14. Juventa – Woolloomooloo (Original Mix)

15. Aerosoul & Yoel feat. Jenny Mayhem – Dreams Come True (Original Mix)

16. Dyro – Black Smoke (Original Mix)

17. Tritonal vs. Mr. FijiWiji – Seraphic (Club Mix)

18. Juventa – SHWDWN (Original Mix)

19. Tygris – Lyra (T-Mass Remix)

 

DJ 101: How To Get On (Hint: It’s Not Just Calling Yourself a DJ)

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Nowadays with so many so-called DJs out there angling for gigs and trying to get on, how do you get noticed or get your foot in the door? I’ve never been one to hob nob or blow smoke up a club manager’s you-know-what to get a gig. I see lots of newbies hanging with the promoter trying to make friends and doing lines with ‘em after hours, just so they can get booked for crappy low-paying local gigs. Well, you’re hustling backwards. Here’s a few ways to “get on” in the DJ game.

Professional Photos

First off don’t be scared to spend a little money on yourself. If you can’t invest in yourself or believe in yourself, why would anyone else? Get professional promo pictures done. Anyone can shoot a pic from their iPhone and post it up, so do something that already puts you a step ahead the rest of the pack if you want to get noticed. You don’t need any equipment in your picture. You’re selling yourself at this point and you should be confident enough that you’ll be recognized for you and what you do. You want your personality to shine through on its own. I can’t tell you how many times I’ve seen some dude holding an unplugged mixer in his pic and been like, “Yo, what’s he doing with that thing?”

DJ Mixes

So important. This is your calling card. You’ll want people, fans, promoters and future clients to be able to hear a mix if they want to. This can be tricky as each party is different and if you’re a professional DJ you’ll need to be prepared to rock what ever kind of jams are requested for the event is you’re booked for. So if an EDM promoter hears the classic 80’s mix you posted online you might miss that gig. A missed gig equals missed income/work.

You can have a page up online with various mixes via Soundcloud, Mixcloud or whatever platform you dig most. Be clear and concise, label them correctly to direct potential clients in the direction for what they are looking for. Don’t just say “My live mix from last Saturday night.” Be sure to say exactly what it is, i.e. Soul & Funk Vinyl 45s Mix or Top 40 Dance Mix etc. People have very short attention spans these days and don’t want to look for things. They wanted it handed to them. The easier you make it for them the better.

Remember the Mixtape?

Mixtapes/CDs are still an excellent way to get noticed and stand out from the pack. Most DJs give away free downloads and don’t take the time out any longer to make a physical, tangible product. People love getting gifts and giving out your mixes really does show that you take your craft serious. If you care enough to put in a physical package, that means something.

Business Cards

Speaking of calling cards a good business card can still help. My business card is very simple and to the point with links to my website, Facebook page, Twitter account and Instagram account, as well as links to download my DJ mixes.

Be Personable

Smile, make eye contact and be nice. No one wants to hire or work with a jerk. That smile can go a long way.

Find An OG

I mentioned this in my last piece about cut-rate DJs playing for free and screwing the money game up. Find someone you respect, whose style you dig, then pay your dues: carry gear, help out at shows, learn the stuff you’d have to learn the hard way if you didn’t have somebody lookin’ out for you. Having a well-respected, hardworking mentor rubs off and makes you look good, cause if that guy (or girl) is willing to work with you, you must have something going on.

Online Presence

Websites are cool, but not as important as they used to be five years ago. If you have a good Facebook fan page or a blog you should be fine. But a site is also icing on the cake. In my book the more the merrier, but remember that if you’re going to build it, do it right. A 2005-lookin’ page makes you look silly. It all adds up and helps you at the end of the day, although some things aren’t necessary but a great tool to assist you in this profession.

Performance and Word of Mouth

Two of the absolute best ways to get gigs is word of mouth and from gigs themselves. I can’t count how many times I’ve been  playing and someone asks me for my info to book me at their event. Word of mouth works wonders as well. But remember the Be Personable part, you ain’t getting shit if when that person approaches you, you act like a prick.

Grind It Out

Once you have all this stuff in order, it’s grind time. Hit the venues you wish to play and ask for the managers or booking agents. Make sure they get your stuff. You can mail it in, email it, or personally drop it off and introduce yourself. Hit the clubs on the nights you want to play and ask for the promoter and do the same. I know I made fun of the dude doing lines with the promoter earlier, and that still holds. Hit the promoter up, but be professional about it. Networking for DJs isn’t any different than for tech people.

It can be a struggle at first but eventually you’ll be playing. I got my very first club gig ONLY because the DJ was sick and they needed a stand in for the night. The next 20+ years have been hard work and history. Remember nothing comes easy.

Numark Unveils Three Additions to their HF Series Headphones Line

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Numark have been all sorts of busy during this year’s BPM Show in London. Earlier this week we saw the NDX500 media controller and the N-Wave 360 powered monitors, and now we’ve got a look at the full line of new headphones Numark has in store for us.

The three models are all similar in a lot of regards, offering aggressive isolation for use in noisy spaces, leatherette ear cups to provide a nice comfy fit, 32-ohm impedance for use with low-output devices, 40mm drivers deliver deep, defined bass for beatmatching, as well as a 20 Hz – 20 kHz range frequency response and rotating ear cups for hands-free or single-ear monitoring. All three come standard with a four-foot (1.2m) cable with an 1/8-inch (3.5mm) stereo plug and an 1/8-inch to 1/4-inch (6.3mm) adapter.

The HF 150’s are the foldable, extremely portable version, and as mentioned above, come with the same tech specs as the two higher end versions, making them the traveller’s choice when loads of bulky equipment just won’t cut it. The HF 325 and 350 offer studio-grade acoustics with high-quality sound detail thanks in part to their over-the-ear and around-the-ear cups respectively. We’ve always liked Numark products, and we’re pretty sure when we get our hands on these, they’ll get a thumbs up.

“The HF Series headphones have superior monitoring qualities that make them ideal for club use,” according to Karl Detken, Director of Marketing for Numark. “At the heart of the HF Series is a superlative 40mm driver, delivering outstanding audio quality across the entire range of human hearing. The HF350 completely enclose the ear to provide enhanced isolation. The HF325 will appeal to the DJ who prefers a smaller on-the-ear format with top-notch sound quality. For the on-the-go performer, the collapsible HF150 is a portable powerhouse.”

The latest editions of the HF Series will be available this fall with suggested retail pricing of $99.99 for the HF350’s, $89.99 HF325’s and $39.99 for the HF150’s.

You can get more details over on Numark’s website.

Splice Production Platform Beta Goes Live with DNA Player

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We’re always on the lookout for really cool stuff and Splice, a music platform for creation, collaboration and sharing definitely fits that bill. Splice launched a private beta release about ten months ago, and although it wasn’t that hard to get an invite, we’re happy to see they’ve finally launched their public beta.

The concept is simple: Splice integrates with Ableton Live, FL Studio and Logic Pro X to provide a cloud-based production platform for users to collaborate on. Where usually two producers working from separate locations on one track are forced to check and double check to make sure that each is working on the most current version of a project, Splice allows seamless collaboration by uploading every change made no matter what location it was made from, to its cloud database. So rather than have to re-render and resend any last minute changes and hope that your collaborator is checking their email, any changes made to a project are instantaneously available to each party.

If you’re wondering how viable Splice is, consider that the company just raised $4.5 million in Series A funding throught venture capital firm True Ventures. Among the participants are Richie Hawtin, Tiësto, Steve Angello of Swedish House Mafia, Scooter Braun (the twerp Bieber’s manager), talent agencies WME and AM Only.

As a sort of a teaser as to what you can expect from Splice, they’ve also partnered with Henry Fong and J-Trick to debut their DNA Player with their new track “Scream.” It is a very spiffy little interface that allows users to see the DNA of a track, essentially giving you a bird’s eye view of every instrument, note, effect and tweak of a track’s production, along with comments and notes from the producers. Each channel of the track can be highlighted and/or muted giving viewers the ability to focus in on particular elements. Give the DNA Player a whirl below.

You can check it out and sign up for the public beta on the Splice website. Although the public beta is free, you can expect a subscription fee sometime in the future.

 

Mitosynth for iOS Updates Loads of New Features

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App maker Wooji Juice has updated their Mitosynth app with improved automation, step sequencing, expanded MIDI capabilities and a number of other new features. Along with all of the nifty new capabilities, Wooji Juice has also updated the app to play nice with iOS 8 and the new, larger iPhone 6 and 6 Plus screens with larger X/Y pads and wider keyboards.

The basics go something like this: Mitosynth comes with 140 built in patches, and allows you to design your own using a combination of additive synthesis, wavetables, or a sophisticated mix, to which you can add modulation, effects and filters, controlled by powerful LFOs. It gives users the ability to create leads, soundscapes, basses and much more. The automation controls allow for which, or to which degree, the effects affect a setting. A flexible FX chain provides a clean interface without complicated routing tables, or stringing multiple cables until your screen is covered in audio cable pasta. Simply slot the effects you want in the order you want.

Mitosynth Features:
  • supports: core MIDI, virtual MIDI, background audio, audiobus, audio copy/paste, AudioShare, Dropbox, performance recording, iCloud Drive
  • install up to four effects simultaneously: filters, crushers, distortion, warm fuzz, flanger, phaser, echo, tube resonance, reverb and chorus
  • AM, PWM, Phase Mangulation, Supercharger unison mode
  • mono and polyphonic glide, and regular, toggle and latch sustain, customizable keyboard
  • patch and audio management with search and tagging
  • share patches with friends, including any additional audio they require
New in 1.2 for all users:
  • step sequencer automation feature, supporting blend curves and sustain
  • pitch tracking and note tracking automation modes
  • MIDI program change & patch bank mapping
  • MIDI polyphonic Aftertouch support
  • XY pads highlight where they were last touched
  • iPhone users can now flip Performance Mode between XY pads, tempo controls, master gain control, and IAA Transport Control
  • 20 new built-in patches
  • latest Audiobus SDK
Additionally, for iOS 8 users:
  • Inter App Audio transport controls
  • Bluetooth MIDI configuration
  • use finger pressure to control Aftertouch
  • import & export audio from iCloud Drive and other compatible services
  • support for iOS 8 extensions provided by other apps

Mitosynth is available in the App Store for $14.99.

You can a more in-depth look on Wooji Juice’s Mitosynth product page.

 

 

 

 

 

 

 

 

 

 

 

Software Review: iZotope RX4 Advanced

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In dance music, the problem of using quality samples is a significant one. It is not uncommon to find songs in house music that have older samples layered in new production. One popular technique is to find a disco sample, which may have been recorded in the Seventies and is used in newer production. I have found that one main determining factor for me purchasing a song, is the clarity of the samples used. If I hear a song that uses a vocal sample with pops, clicks and hum present, it is most likely I won’t buy that song just because of the poor quality of the sample. With some songs, these pops and clicks may add character to the production. Alternatively, if you are going for a newer feel, these errors stick out like a sore thumb and detract from the enjoyment of the production.

It is rare to find a song that uses an older sample, where the producer has cleaned up the sample. If this is done, the sample sounds as if it was recorded in a newer studio and was never transferred to another medium such as vinyl. Normally, when producers are using older samples, they have been captured from vinyl records, which have pops and clicks present due to the quality of the medium.

RX 4 To The Rescue

The new RX 4 Advanced from iZotope addresses many of these concerns. I have been using the iZotope Ozone mastering software for years now, and have always associated quality with their releases. When I was asked to review their new RX 4 software, I immediately jumped at the opportunity, as there are samples I want to clean up but hadn’t found the right tool to do so.

RX 4 Advanced comes in a standalone, AU and VST versions. All of the features are available to you in the standalone version, while just some of the main features are available while working in a DAW using VST or AU. When using the standalone version, you can do step-by-step processing to get your audio recording to sound exactly how you like.

I have an acapella version of First Choice’s “Let No Man Put Asunder,” and there are a few issues with the version I have. First, because the song was recorded from vinyl, there are many pops and clicks present that really detract from the quality of the music. Second, there is very audible clipping, which may have happened in the original recording stage. And third, there is a reverb used in the song which I really am not crazy about. Until now, I thought that I could only fix the pops and clicks in the song.

iZotope RX 4 Advanced

To do my audio editing, I chose to use the standalone version of RX 4 Advanced for processing. I find it is easier to process the audio sample layer by layer, instead of creating a stack of VST’s in my DAW. Also I saw there were many more options available to me in the standalone version. Take a listen to the original audio below.

Declick

rx 4 2Because the audio sample was recorded from vinyl, it has many pops and clicks. I wanted to clean the sample up as much as possible before doing any other processing, so I chose to do this first. Upon bringing up the Declick tool, I was very surprised at how easy it was to get the settings I wanted. There was a  “Vinyl Record” preset which pretty much did all the work for me. I attributed this to the fact that pops and clicks are very common in vinyl recording, and this would be one of the more useful tools in for producers. I made minor adjustments to the Click Widening function, and by using the Preview button, I was able to audition my changes before I processed them.

Declip

rx 4 3Because the song had some audible analog clipping in the original recording, I wanted to do some processing to soften the sample so it wasn’t abrasive. The Declip feature in RX was just as easy to use as the Declick. First, I selected the Extreme Analog Clipping preset from the options above. Next I pressed the Suggest button. RX then analyzed the sample and found the recommended correct settings for the Declip tool. And finally the only other setting I changed was the Quality. I set this to High. Once I processed the sample, I found there was a definite improvement to the clipping that occurred.

Dereverb

rx 4 4In the sample there was a reverb present on the vocal that I wanted to get rid of. I was a bit skeptical of how good of a job this plugin would do, just because I had not seen it offered in any other plugin of its type. But I was able to get a good start by utilizing the included presets. I chose the Light Vocal Processing preset to get started with my initial adjustments. I found that I had to do a bit more adjusting with this plugin. The features I had to make the most adjustments to were the Reverb Profile and the Reduction. I found there was a delicate balance to how much reduction was used. If I adjusted too much, I really gutted the vocal, but if I didn’t use enough, the reverb was still very present. After about ten minutes, I got the vocal to a place where I was satisfied that the reverb was somewhat gone. After processing, I found there was still a slight delay present on the vocal.

After processing the sample, I put it back into Ableton Live and did an A/B comparison of the two. What I found was that I greatly improved the quality of the sample. I now feel comfortable using this sample with other compressors and reverbs. Previously, if I used a compressor on the vocal, all the artifacts I didn’t like would have gotten louder, thus creating a really scratchy sounding vocal sample. RX 4 really saved the day here. Take a listen below to the final product.

Conclusion

For this vocal processing, I found that RX4 Advanced was the best clean-up tool I have ever used in my 10+ years of audio production. While I feel that I only scratched the surface of its vast amount of features, I know that the power at your fingertips when using RX 4 is almost limitless. I will definitely be using this program in upcoming projects to get the highest quality sound out of my recordings and samples. Some of the other features I found very compelling were the Ambience Match and EQ Match plugins. These features can be used to get a sample to sound like a piece of reference material that you put into the plugin. This can be very useful when trying to replicate a certain feel or sound.

The RX 4 Advanced software suite is available now on iZotope’s website for $999. The Basic package is available for $299.

 

U2 and Apple Move Past Free Album Debacle, Planning New Audio Format Together

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Sorry music fans, it doesn’t look like U2 and Apple are done with you yet. Fresh off shoveling their new album down iPhone users’ throats via an uninvited and unasked giveaway, an effort received poorly enough by the general public that Apple was cajoled into creating an entire “remove this crap from my iPhone” page, the band announced via a Time Magazine article that they are working with the behemoth from Cuppertino on a new digital audio format that they’re hoping will tempt music listeners into buying songs and albums again.

Bono spoke briefly about the project in the article, discussing the reasoning behind it, and his hopes that it might help everyone from big-time artists, smaller acts, artists who don’t make money off ancillary activities like touring and merch, as well as songwriters find a way to make money in an increasingly difficult artistic market.

“Songwriters aren’t touring people,” said Bono on artists who currently struggle to make money. “Cole Porter wouldn’t have sold T-shirts. Cole Porter wasn’t coming to a stadium near you.”

While there’s no explanation of how a new format is going to help in the long term, given that high-quality free music is literally a few mouse clicks away for anyone who wants it, there are a few rumors and speculation about what it might be. Tech industry news site, Tech Radar, has let on that a source has informed them that Apple might be in the process of making hi-res studio master downloads available on iTunes sometime in the near future. No word on how much those will set you back. So is that the project Bono is so excited about? Or are they maybe thinking of something more drastic, maybe un-rendered studio masters that would allow users to tweak audio levels themselves, remixing and re-mastering tracks as they see fit?

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