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Опрос

Your Primary Genre
Soundtracks - 767 (5.22%)
5.22%
Pop, R&B, Funk - 1286 (8.75%)
8.75%
Rock, Metal - 2142 (14.57%)
14.57%
Rap, Hip Hop - 2990 (20.34%)
20.34%
Jazz, Classical - 534 (3.63%)
3.63%
World, New Age - 143 (0.97%)
0.97%
Avant-Garde - 159 (1.08%)
1.08%
Folk, Country - 121 (0.82%)
0.82%
Ska - 29 (0.2%)
0.2%
Electronic (general) - 3127 (21.27%)
21.27%
- Ambient, Lounge - 292 (1.99%)
1.99%
- Club, Dance - 438 (2.98%)
2.98%
- D&B - 506 (3.44%)
3.44%
- House - 1247 (8.48%)
8.48%
- Trance - 657 (4.47%)
4.47%
- Industrial - 261 (1.78%)
1.78%

14699 votes

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fresh releases

Samples » loops
Shroom Killer Breaks Vol. 3 WAV screenshot
FANTASTiC | Dec 18 2017 | 263 MB
"The dopest breaks I ever heard" - Cobaine Ivory (Producer/composer for Pepsi, Playboy, Victoria Secret, Hot97 etc)

Shroom is back with another knockin break library! This time he teamed up with drummer BZ (Alchemist, Havoc, Method Man) to bring you 400+ royalty free drum breaks specifically designed and created for hip hop producers and beatmakers.
Samples » loops
Frankie P Feels Vol. 3 Compositions WAV screenshot
FANTASTiC | Dec 18 2017 | 206 MB
The Drum Broker has teamed up with renowned producer Frankie P, best known for his work with A$AP Ferg to bring you another fresh Sample Library featuring 13 Full Compositions and Stems. Frankie P enlisted his team of musicians to craft one of the dopest sample libraries we've got our hands on yet
Education » Literary
Teaching Music History 1st Edition screenshot
English | 2017 | ASIN: B074VFVXDJ | 288 Pages | 3 MB
Unlike their colleagues in music theory and music education, teachers of music history have tended not to commit their pedagogical ideas to print. This collection of essays seeks to help redress the balance, providing advice and guidance to those who teach a college-level music history or music appreciation course, be they a graduate student setting out on their teaching career, or a seasoned professor having to teach outside his or her speciality. Divided into four sections, the book covers the basic music history survey usually taken by music majors; music appreciation and introductory courses aimed at non-majors; special topic courses such as women and music, music for film and American music; and more general issues such as writing, using anthologies, and approaches to teaching in various situations. In addition to these specific areas, broader themes emerge across the essays. These include how to integrate social history and cultural context into music history teaching; the shift away from the 'classical canon'; and how to organize a course taking into consideration time constraints and the need to appeal to students from a diverse range of backgrounds. With contributions from both teachers approaching retirement and those at the start of their careers, this volume provides a spectrum of experience which will prove valuable to all teachers of music history.

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