The go-to service for music videos on YouTube could be heading to Facebook of all places. Because we all know how well it works out when social networks become a place for musicians to hang out (*cough* MySpace).

According to CNET, Vevo has been talking to Facebook about leaving YouTube. The music video service has only been around for two years and already its video view uniques are second only to YouTube. Vevo has 43 million unique visitors a month, while YouTube as a whole has 130 million uniques. People really like music videos.

Vevo's deal with Google still has a year before it expires. And with Google Music not exactly taking off, the search giant should probably try to hold on to any music service it can. [CNET]

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The 251 candy-colored lights on this MIDI controller are your trippy spiritual guide to the music you're making. Watch the crazy LED test above or this fresh hands-on from the Verge. You gotta experience it, man.

The QuNeo 3D's lights provide feedback depending on what you do with it. To use the controller, you'll need to connect it to music production software on your computer—Ableton Live is favored but not required. From there, you can set off on an aural magical mystery tour. The 27 touch pads on the QuNeo 3D are pressure, velocity, and location sensitive. When you twist the rotary sensors, slam down on the trigger pads, or the flip the switches, corresponding lights respond to the input and set off a dazzling, super-accurate light show to match the tune.

Open-source instrument maker Keith McMillen created the controller and threw it up on Kickstarter in the Fall hoping for $15,000 to start production. When donations closed on January 9th, he'd raised $165,000 dollars. So yes, this is totally coming to market. Now McMillen is scrambling to assemble all the units he's promised by the March delivery date. [Kickstarter via the Verge]

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Part of it is branding, to be sure. But in Pitchfork's Resonant Frequency column, Mark Richardson rails not against the quality of the Beats line of headphones and its signature, overloaded bass, but rather argues that they're a viable alternative for a new era of music.

Richardson's main issue with audiophile logic—and something that I whole-heartedly agree with—is that they don't take into consideration modern music production (synthesizers, edits, overdubs, etc.) when evaluating headphones, but mostly rely on classical audio as the reference audio source for speakers and headphones. Reading between the lines, it seems Richardson also argues that audiophiles aren't as concerned with the music as they are in accurately reproducing sound for the sake of accurately reproducing sound.

We live in a time when everything can be tuned to individual preference. The entire concept of subjectivity is arguably embraced more now than in any other era. This platonic ideal of ideal forms, whether it be audio, visual or otherwise, is not a concern for many people today. (Hell, look at Instagram)

But to drive his point home about someone who disliked a pair of Sennheisers for their lack of bass, he drops this particularly well-put paragraph.

Beats by Dr. Dre are popular because they don't reproduce music as much as they transform it. They are the right headphones for the current era, because their design "customizes" the sound for the listener who wants bass. Music is never finished; we can chop and screw, add bass, slow it down 100x, mash it up with something else. And people will buy headphones that finish the music in the way they like.

It may not be your sound, but it's not necessarily a wrong sound. [Pitchfork]

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