What’s The Best Desktop DAW? (2015 Poll) Ableton Live, FL Studio and Logic Pro have long been favorite Digital Audio Workstations (DAWs) of Synthtopia readers. But DAWs continue to evolve. In the last year, there have been big updates for Live, Pro Tools, Sonar, Mixcraft, Bitwig, Logic … Continue reading → http://bit.ly/1LJHjF0
Dark, unexpected sounds of Triple Sun, Jonáš Gruska (Berlin Wednesday) Triple Sun – Sprint from Martin Blažíček on Vimeo. From Bratislava, the duo Triple Sun are making spontaneous, ethereal music with a combination of modular and computational tools. Against a flickering black-and-white film, this video last year is one of my favorites. We’re inviting Triple Sun this week to Berlin along with Jonáš Gruska as part of a live program, so I want to take a second chance to explore what they’re doing. “Sprint,” the film at top, is a metaphor for “running into the future, changing view,” Triple Sun’s Adam Dekan tells us. Modular synthesis and improvisation in the opening morph into an earlier sound design landscape, Adam says, back in the days when Triple Sun was a quartet (with guitar and drums). On Wednesday in Berlin, they’ll also look to spontaneous improvisation. Czech artist Martin Blazicek produced the visuals. The effect is entirely optical – motors rotate found photographs. Triple Sun’s sound has apparently grown and morphed since then, so I hope we’ll get the duo to share their newer sounds with the CDM audience. The moody, quirky and sometimes eerily-lovely record Triple Sun put out on Bandcamp-based Forum Absurdum is just the sort of obscure gorgeousness I like. The whole thing is worth a listen: <<iframe style="border: 0; width: 350px; height: 786px;" src="http://bit.ly/1lqcbFa" seamless>Triple Sun – Overture by Triple Sun Meanwhile, Jonáš Gruska (whose name I will hopefully soon render properly on CDM – working on that), is working outside the box with performance. His musical practice also includes incorporating architecture and objects. “I love finding and exploiting acoustic imperfections of objects and spaces,” Jonáš tells CDM. That has led him to a series of exhibitions/site specific performances – and we will present the latest. On Wednesday, he will amplify giant metal walls, the reused containers that form the space at Platoon Kunsthalle. I’ll let you know how it goes. Jonáš Gruska: Rúry from Anna Gruskova on Vimeo. RSVP on Facebook:“Undiscovered Sounds From Slovakia”: Jonáš Gruska, Triple Sun, Nina Pixel But of course, for the 95% of you not in Berlin, stay tuned to CDM for more on these and other artists. The post Dark, unexpected sounds of Triple Sun, Jonáš Gruska (Berlin Wednesday) appeared first on Create Digital Music. http://bit.ly/1NYAroS
Synth meets soft: how to use hardware inside Bitwig As more people bring home hardware, the next question is how to get that running smoothly with software – for recording and control. We just saw a really great tutorial for doing it in Reaper, using our MeeBlip synth. Now there’s another unsolicited MeeBlip tutorial (really, I had nothing to do with this), this time with Bitwig Studio. Watch at top. Some nice mobile hardware in general, too – the Keith McMillen K-Board is definitely the smallest effective keyboard I’ve found, plus the KORG nanoPAD2, the best little drum pads I’ve found, plus the iConnectMIDI4+, which is the most flexible solution for using iOS devices, MIDI gear, and computers together (in various combinations). And then there’s a trick we probably haven’t publicized enough – you can plug a 9V battery into the anode with a battery adapter, so you don’t need a wall wart. More details here – at a site that’s chock full of great Bitwig Studio tips. (I’m double interested in those, having seen how nice the touch implementation in the new version is.) Control and Record MeeBlip anode in Bitwig Studio [factotumo] Ben Schmaus is behind this one. Find the MeeBlip anode (with a special sale on):bit.ly/1Tgj6vA It’d be great to have a round-up of similar hardware advice for newcomers in various hosts. (And no, you don’t have to use MeeBlip!) The post Synth meets soft: how to use hardware inside Bitwig appeared first on Create Digital Music. http://bit.ly/1XsgH7n
Elektron Grammofon Releases ‘Massively Disorienting’ LP By The Bug Elektron Grammofon – the label of gearmaker Elektron – has announced its second release – an LP by The Bug: It’s a real treasure — the sophomore release of Elektron Grammofon. We’re proud as a teapot to bring you to … Continue reading → http://bit.ly/1To5tuS
Seaboard RISE + Haken Continuum-II Performance Sunday Synth Jam: This video, via Christophe Duquesne, captures a virtual orchestra performance on Seaboard RISE + Haken Continuum-II. Here’s what he has to say about it: This is another small video combining the SEABOARD RISE, from ROLI, and the Haken Continuum, … Continue reading → http://bit.ly/1l2mdN4
Bollywood Maharaja Drums Bollywood Maharaja Drums is a new sample library that features the percussive sounds of ‘Bollywood’. It features 1200 one-shot drum sounds, organized in to 100 Kits (2.5 GB) in the plugin. It also comes with 1200 wav files for use … Continue reading → http://bit.ly/1OzKe7F
Elektron Announces Second Elektron Grammofon Release @WeAreElektron http://bit.ly/1NDBoZF
New Synth For Ableton Live K-Devices TERRA incorporates frequency modulation, phase distortion, ring modulation and wave shaping http://bit.ly/1NDoNW7
Modelonia Synth Updated Physical-modelling synth for Mac and Windows now supports all 64-bit DAWs http://bit.ly/1lpsli0
DJ Gear Innovations That Should Be Industry Standard in 2016 As we head into the last month of 2015, we thought it would be interesting to take a look at a few of the best innovations on DJ gear in the last few years – and why they should become ubiquitous. From built-in USB hubs to highly playable cue buttons, we hope to see a more widespread adoption of these features on DJ equipment in 2016 and beyond. Dual Headphone Outputs Dual headphone outputs on the front of the DJM-S9 mixer What’s the most commonly lost item for DJs everywhere? It’s got to be those pesky 1/8″ to 1/4″ headphone adapters – from leaving them behind in mixers to dropping them into the depths of your gear bag, they’re incredibly easy to lose. A lot of newer DJ gear (like the above pictured Pioneer DJM-S9 mixer – watch our review here) has finally started to reflect the hard truth that the headphone industry isn’t going back to 1/4″ jack plugs anytime soon. We’ll still need adapters for older mixers and controllers, but the pure convenience of having both ports on new gear is something that every DJ can be happy about. Built-In USB Hubs We constantly get emails asking us what the best USB hub for DJ gear is. The truth is that the best USB hub is one that you don’t have to remember to bring with you! Native Instruments has lead the charge in this territory, with integrated USB hubs on the Kontrol Z2 mixer and more recently the Kontrol D2 – both of which make since as NI wants to support DJs being able to easily plug in their accessory/modular hardware. As we start to see Rekordbox DJ develop, maybe we’ll see integrated USB hubs on Pioneer gear as well? Dual Soundcards Dual soundcard selector on the Rane TTM-57 MKII Rane was the first company to put two soundcards in a DJ product five years ago with the Rane Sixty Eight. While that mixer didn’t receive very widespread adoption, putting two soundcards on gear that is likely to be shared by multiple DJs either in a collaborative B2B setup or just simply when handing over control of a setup to the next DJ. Rane has continued to put dual soundcards on most of their high-end mixers, and it seems that Pioneer standard on their high-end products, as it is present on the DDJ-SZ controller and new DJM-S9 mixer. Built-in Mix Recorders (via USB) The second USB slot on the XDJ-RX Anyone who has had a chance to play around with the Pioneer all-in-one XDJ-RX rig has likely noticed one of the most convenient features is the ability to plug in a second USB stick and send the Record Out output directly into a WAV file on the drive. This is a pretty obvious move for an all-in-one unit, but what if we started seeing it on digital mixers and controllers as well? Many DJs have a hard time remembering to bring their audio recorders and set them up properly (clear space on your SD card, the levels sound good, plenty of battery left), so why not cut out the recorder entirely and let DJs just hit a single button on the mixer? Highly-Playable Cue Buttons The classic DJTT VCI-100 arcade mod – still relevant today. This was actually one of the needs that lead to the Special Edition modification of the Vextax VCI-100 way back in the beginning of DJ Techtools. In a nutshell, the plastic buttons on the VCI-100 were far too difficult to use with any predictable response because of their stiffness – so Ean drilled out holes and replaced the buttons with arcade buttons to make them fun and playable. We’ve seen a widespread adoption of pads on DJ controllers – but not all of them are as playable as arcade button controllers, or Maschine and Akai pads. Wouldn’t it be great to have a cue button on every piece of DJ gear that feels great and is easy to play along with the beat to? Maybe we should start replacing the cue button on CDJs with arcade buttons! Universal MIDI Sync Ableton Link syncing two copies of Ableton Live Live performers and DJs who use multiple pieces of MIDI-syned hardware or software deserve a reliable way to ensure their equipment stays synchronized. There’s a number of ways to do it now – but wouldn’t it be nice to just have a simple and reliable synchronization across devices and platforms? Right now it looks like Ableton hopes to solve this problem for many performers with their new Link platform (now in Beta) – it would be amazing to see something like this become industry standard for synchronization. Tell DJ Manufacturers What You Want! Tired of seeing posts like this full of speculative “would be nice” discussion and ready to make manufacturers listen? We know that the big companies all keep close tabs on social media, so hit the share button on the post below to spread the word about common-sense improvements you want to see in DJ products. Ableton, Akai Professional, NATIVE INSTRUMENTS, Pioneer DJ, Denon, Numark, Rane Corporation, ALLEN & HEATH (official): Here are some features we'd love to see become industry standard on new DJ gear: Posted by D… http://bit.ly/1lpmskN
Graham Dunning’s Mechanical Techno This video captures a ‘mechanical techno’ jam, by Graham Dunning. Dunning incorporates mechanical rhythm generators into his performances, to create an alternative to computer-perfect repetition. “You get sick of hearing the same disco sample over and over again,” he explains. … Continue reading → http://bit.ly/1Itb1xP
Drahthaus – Notch Vienna-based Drahthaus shared their latest music video, for Notch, a track that combines electronic and acoustic instruments. Equipment used in this song: 4x Ableton Live Ableton Push Korg NanoKontrol Novation Ultranova Icon Neuron Roland E-Drumkick E-Guitar E-Bass Mute Piano Trumpet Carton … Continue reading → http://bit.ly/1Rfo2SR
Rheyne Synth Jam & Studio Tour Sunday Synth Jam: This video captures a live looping synth jam, with Ableton Live, by Rheyne. Recorded in one take with no pre-recorded loops or samples. In the following video, Rheyne gives a tour of his synth studio and explains his set … Continue reading → http://bit.ly/1PlFHch
Jazz Synth Improvisation With Mother (Moog Mother-32) Sunday Synth Jam: This video, via Noir Et Blanc Vie, captures a jazz improvisation with Moog Mother-32 and a Korg SV-1 stage piano. http://bit.ly/1YBTpcs
Free Music Download – West Coast Bach Volume 1 Ngarjuna (Mitch Furman) has released West Coast Bach, Volume 1 – an album of ‘switched on’ style Bach, arranged for a ‘West Coast’ style synthesizer. West Coast Bach Volume 1 by ngarjuna The digital album includes the full English Suite #6 (BWV … Continue reading → http://bit.ly/1lRlyxX
Hands On With The Black Market Modular Colour Palette At Knobcon 2015, Black Market Modular officially introduced the Colour Palette – a unique Eurorack module that promises to be a mini-platform for synthesists. Here’s a new demo video, via Raul Pena of Modular Wild: The Colour Palette is unique in that it can … Continue reading → http://bit.ly/1XzASer
Hands On With The Roland MX-1 & Ableton Live Roland recently updated the MX-1 with Ableton Live integration at Amsterdam Dance Event 2015. In this video from ADE 2015, Roland’s David Ahlund demos the MX-1’s new Live support. Ahlund puts the AIRA MX-1, System 1, TB-3 and TR-8 through their paces (with some … Continue reading → http://bit.ly/1lnbEnr
Moog Mother-32 + Eurorack Modular Demo Video This video, via Switched On, takes a look at demoing the new Moog Mother-32 semi-modular analog synthesizer, in the context of a larger Eurorack system. “Instead of reviewing its features, we wanted to demonstrate a variety of creative patches to show … Continue reading → http://bit.ly/1YA5RcJ
Free Mac Patch Editor For The Roland TB-3 Bassline Synthesizer Zhimsound has released an unofficial Mac patch editor for the Roland TB-3 Bassline Synthesizer. The previously released a Windows Roland TB-3 editor. The release includes standalone and VST versions of the editor. A Synth page is available for editing synth parameters and … Continue reading → http://bit.ly/1PTqFui
In just a few minutes, mod a Euclidean Sequencer in Reaktor There are a lot of hugely powerful things you can do with an environment like Reaktor. But that doesn’t necessarily suggest where to begin. The best way to get into a deep tool is often to solve a simple problem. At the Native Sessions installment on Reaktor 6, Nadine Raihani showed us a simple example of taking a user library offering and making some quick changes. The result: a Euclidean polyrhythm sequencer (Euclidean say what?) that you can play from a keyboard. That turns out to be scary useful: like holding down notes for instant improv techno. Nadine shows how to go about this in this video: And actually, I think this is really important. Especially with the power of the Web (aka, a hyper-connected international engine for showing off), it’s easy to lose sight of the value of doing simple stuff. Just mapping something to a keyboard might not be technically impressive. But I’ve found this in my own work: some of the most compelling performance tools are the ones that are technically the simplest. That leaves the inspiration to, say, hitting some keys and improvising – the human side of the equation. And often working musically with simpler elements can focus your work. (The greatest composers of all time often composed based on very simple kernels of ideas – think “etudes.”) Ironically, it’s typically experienced developers who have learned to break down problems into small, solvable bits – and beginners who try to do too much at once. So take a tip from them, and think simple. Speaking of how simple can be powerful, the other great thing about patching environments in general is how easy it is to share and reuse work. (The same I suppose can be said of well-written code, but patching environments make the bits immediately visual.) Having worked with Pd and Max and SuperCollider, I’ve seen the same sharing pattern. And sure enough, as I was preparing this, Nadine wrote me to say her mod of the original sequencer has itself been modded. So check them out: Euclidean “Snapshots-to-Keys” Mod: Euclidean Sequencer to play on MIDI Keyboard and the mod of the mod: Euclidean Polyplexor: 8 Euclidean “Snaps-to-Keys” sequencers to drive Polyplex And there’s more: the patches from the other Native Sessions presentations are online, too: Native Sessions Oct 2015: 5 minutes against the Blocks – by Dave Forrester, from the Reaktor team Native Sessions Oct 2015: ZDF Toolkit Demo – that’s the crazy filter patch by the legendary Vadim Zavalishin from Reaktor. I’ll… see you in about six months, after I get lost in filters. Enjoy, y’all. And if you post something interesting to the User Library – or make something for your environment of choice – don’t be shy, let us know about it! The post In just a few minutes, mod a Euclidean Sequencer in Reaktor appeared first on Create Digital Music. http://bit.ly/1InTeIg
eaReckon Intros EAReverb 2 Algorithmic Reverb For Mac & Windows eaReckon has introduced EAReverb 2, an algorithmic reverb for Mac & Windows. EAReverb 2 is an algorithmic reverb plug-in (32/64-bit VST2, VST3, AU, AAX). It features the “Natural” core engine of the original EAReverb, but also brings new algorithms and functionalities, accessible from a … Continue reading → http://bit.ly/1Xm2F7m
K-Devices Intros Terra Polyphonic Synthesizer For Ableton Live K-Devices has introduced Terra – a polyphonic Max For Live synth, incorporating frequency modulation, phase distortion, ring modulation and wave shaping. Terra’s three wavetable oscillators can be switched between four analogue-style wave shapes – Sine, Triangle, Saw and Square – and … Continue reading → http://bit.ly/1OvCXpv
Grendel DC2e Drone Commander 2 Eurorack Module Rare Waves has introduced a new analog synthesizer, descended directly from the Grendel Drone Commander: the DC-2e Drone Commander 2 + Expander in Eurorack modular format. They describe it as a ‘unique and highly playable tone source for drone music, leads, … Continue reading → http://bit.ly/1lOHYjB
New Audio Hosting Service, Octave, Like SoundCloud ‘For Musicians With Clients’ Chris Randall (Audio Damage, Micronaut) & Mark Beeson have announced a new audio hosting that is a SoundCloud alternative, targeting audio professionals. “Soundcloud is for musicians with fans,” says Randall. “Octave is for musicians with clients.” Here’s what they have to say … Continue reading → http://bit.ly/1Nd36WD
NUSofting Intros Modelonia 2 Physical Modeling Synth For Mac + Windows NUSofting has introduced Modelonia 2, a major update to their physical modeling synthesizer for Mac & Windows. Modelonia is a physical-modeling synthesizer that uses a hybrid of two distinct model ‘types’- a plucked-string model, and a blown-bore (ie trumpet-type) model. Each model may be used simultaneously, … Continue reading → http://bit.ly/1kXziY7
Polyverse & Infected Mushroom Intro Granular Note Freezer Plugin Polyverse Music & Infected Mushroom has introduced a new audio effect, I Wish, for Mac & Windows (AU/VST). I Wish is a granular note freezer for Mac and Windows. When you hit a note on your MIDI keyboard, the plug-in creates a … Continue reading → http://bit.ly/1kXqfWZ
Make Noise tELHARMONIC (Secret Mode) The Make Noise tELHARMONIC Voltage Controlled Music Theory module has a hidden behavior, called 3-Voice Shift Register, which allows for creation of any triad based in the 12 tone scale. 3-Voice Shift Register changes the behavior of the DEGREE, D-Gate and INTERVAL … Continue reading → http://bit.ly/1jnK6wQ
Learn about Reaktor from experts in this two hour video It’s a marvelous time to be a musician. You can imagine a musical instrument, a compositional invention, and then realize that idea in short order. So I was glad to get the chance to emcee an evening of discussion with Reaktor experts, including the folks who built the tool, last month in the software’s hometown Berlin. That discussion ultimately was partly about Reaktor, but partly about the act of instrument building itself – meaning there were insights for anyone interested in working with electronics or software to dream up new musical tools. And since this comes right on the heels of the release of Reaktor 6, the team behind that update got to talk about their work. I certainly felt like anything but a shill; this is software I really admire. I think interestingly, if you put Reaktor alongside the other titans of DIY musical software – SuperCollider, Max/MSP, Pure Data, and Csound – it’s compelling how each has matured along its own course. The only thing I wish I had was more time. Some highlights from the event: Jan Werner of Mouse on Mars talked about the philosophy of building instruments themselves, regardless of the particular platform, and making creations that can even be terrifying (like that screaming death whistle). We got to see how Blocks work – this is the new, real-time patching system that melds Eurorack-style modules with Reaktor’s sounds and interface (and, you know, never running out of modules or cables or cash). But we also saw how this could be combined with a physical modular system. Artists Deadbeat, Tim Exile, and Errorsmith talked about their relationship to Reaktor (the latter two also developing tools for Reaktor users). Nadine showed how to get started with modifying a simple example from the user library – we’ll deal with that separately. And my favorite moment – Vadim did a race-against-the-clock effort with DSP in Reaktor. In fact, he goes so fast, that I want to work with him to break this down, as he’s just about the best mind on the planet when it comes to filter modeling. (Again, it’s not so much Reaktor that this is about as this person’s brain – and it’s nice that his mind touches this software.) More: Reaktor 6 Flesh from Tim Exile transforms sounds into performances [Interview] Reaktor met Eurorack, and you won’t believe what happened next Here’s a visual tour of what’s new in Reaktor 6 The post Learn about Reaktor from experts in this two hour video appeared first on Create Digital Music. http://bit.ly/1QKKX9r
Need To Know About Presonus Monitors? @PreSonus http://bit.ly/1Raqc6j
Best of Black Friday Software Deals For DJs + Producers For Black Friday, many companies put on a super-sized holiday sale – many of which are some of the best prices that DJs and producers will see all year. This is especially true in the software and digital instrument world. We’ve rounded up some of the best deals out there for dance music tools, software, and technology in this article, read on to get to the deals. Ableton Live 9, Upgrades, Packs – 25% Off Ableton is a big investment and many producers resort to free tools (or, unfortunately, piracy) in order to avoid shelling out a lot of cash. But for this weekend, the Berlin-based company has made it easier for everyone to get a copy of the software – dropping the price by 25% on every software in their arsenal. This means that Standard and Intro are $337 and $562 respectively. Check out the software here on Ableton’s official site. Traktor Pro 2 – 50% Off This is the big one for DJs who are looking to upgrade or switch their software platform to Traktor. Native Instruments has dropped the price of Traktor Pro 2 by 50%. Normally you have to spend $99, or buy one of their all-in-one controllers like Kontrol S2/S4/S5/S8 in order to get the full version of the app. If you’ve been holding off on buying the app for any reason, now would be the best opportunity. To take advantage of the deal, buy it over on Native Instruments’ site here. Offer ends December 7th. Maschine Expansions; Komplete Instruments + Effects Native Instruments is also taking the same pricing target on their other software products. Maschine expansions are the powerful packs of drum kits, samples, and presets that focus around a central theme – they’re usually a lot of fun to play with. Be sure you own a piece of Maschine hardware already to take advantage of these expansions. There are over 100 different expansions / instruments / effects to check out – see all of the ones currently on sale here on NI’s site. Offer ends December 7th. Lemur App: 60% Off Update: at time of publishing, it looks like Liine has had to pull the iOS version of the app from the App Store due to a major bug – but they promise the deal will be back on when things are fixed. Follow them on Twitter for updates. This app – based on the pre-iPad hardware of the same name – has been long revered as one of the top OSC control surface apps, allowing producers and live performers to manipulate audio applications in a unique way. Have a dream DJ or DAW controller you want to build? Draw it out in Lemur and make it a reality. Trust us, this is much cheaper and less hassle than building your own MIDI controller – although we do have a new great tutorial on that as well. For Black Friday, they’ve dropped the price down 60% – from $10 down to $4! Not a bad deal – and there’s compatibility for iOS and Android devices. Check it out on the Google Play store or the iOS App Store (Update: link temporarily down). Sugar Bytes (Effectrix, Turnado, Artillery2, etc): All $69 One of the best effects plug-in companies out there is the Sugar Bytes team. Their tools showed up prominently back in this Real Time Effects roundup article, and they’re also the team behind Serato DJ’s effects and expansion packs. Until Monday night, all of their effects plugins are just $69 / €69 each. It’s a pretty solid deal since many of these plugins are usually over $100. Check out all the discounts here in their store. Expires Monday night (11/30/15) Waves Plugin Discounts + Freebie Waves is one of the most respected effects and instruments design companies in many production circles – and every year they do a pretty big Black Friday “DAW Buster” sale, dropping many of their plugins down to $49 or $79. They’ve even got a free TrueVerb plugin that they’re giving away, and have made some crazy bundles to let producers get some of the most popular tools for way less cash. Check out all of Waves’ Black Friday deals here – looks like most of it ends early Saturday morning / late Friday night. Even More Black Friday Roundups This is just a selection of our favorite deals we’ve found – we’re not going to list all the major deals out there. Instead we encourage you to check out some of these mega-threads of deals on software and hardware this weekend (most deals will likely end after Cyber Monday): KVR Black Friday mega-thread – lots of VSTs, instruments, synths, and audio tools Rekkerd Black Friday collection – another good mega-list of instruments, libraries, sample packs Anything you’re really excited about? Please share in the comments below so everyone can take advantage! Of course be sure to check out DJTT’s own mega-sale in the store – almost everything we sell is discounted from 15% to 60% off – ends Monday, November 30th! The post Best of Black Friday Software Deals For DJs + Producers appeared first on DJ TechTools. http://bit.ly/1Pf8eju
Character And Mastering Compressor Plug-Ins LVC-Audio releases Pressed-T and Pressed-MAX for Mac and Windows http://bit.ly/1PeYPIV
Infected Mushroom's Granular Note Freezer Polyverse Music release 'Infected Mushroom: I Wish' AU & VST Plugin for Mac & Win http://bit.ly/1Q1XC6e
Live Blog: Black Friday Deals Watch We'll post everything we can find here http://bit.ly/1lNzUzF
KV331 Synthmaster Review (video) Its stuffed with features http://bit.ly/1NazdGg
Switched On Modular Synthesizer – Bach Fugue No.16 In G minor This video, via Divkid, captures a EWI (Electronic Wind Instrument) and modular version of Bach’s Fugue No.16 In G minor. David Hogan plays the EWI (Electronic Wind Instrument from Akai), with MIDI to CV coming from the Vermona qMI. Here’s what they have … Continue reading → http://bit.ly/1T8566U
Open Mic: 2015 Black Friday, Cyber Monday & Holiday Music Gear Deals This year, as always, there are music gear deals galore to be had on Black Friday, Cyber Monday and throughout the holidays and the end of the year. If you’ve seen a great holiday deal that you think people should … Continue reading → http://bit.ly/1OtKt3X
Best Black Friday pro audio deals from the web Big savings on Spitfire, Soundtoys, iZotope, NI + many more If you love a bargain but don’t want to be crushed to death by your fellow human, take our advice and, for the... http://bit.ly/1kVnRQA
Podcast: Sonic TALK 427 - Kick Drum Through A Squirrel Diego Stocco, Convoultion, Collidoscope granular, bad synths http://bit.ly/1XsW060
Air Guitarists Can Play Real Guitar Sounds The Kurv is a stringless digital instrument and MIDI controller that uses touch, motion and gestures http://bit.ly/1Ne5v7O
Synthogy Promo Offers Free Pianos Get an Ivory II-Italian Grand or Ivory II-American Concert D http://bit.ly/1N9sU5Q
Ableton Push 2 Teardown Markus Fuller continues his series of teardown videos with a look inside the new Ableton Push 2 controller: If you like Fuller’s Ableton Push 2 teardown video, see his YouTube channel for looks inside other music gear. http://bit.ly/1Xrmuoo
Ensoniq VFX SD Overview & Demo This video, via Richard Geere, demos the Ensoniq VFX SD, a wavetable synthesis keyboard workstation from the early 90’s. The video includes an overview, a demo of original patches and programming the Ensoniq VFX SD. http://bit.ly/1HnkSdH
Realitone Intros RealiDrums Virtual Drummer & Groove Generator RealiTone has introduced RealiDrums – a new virtual instrument that is guaranteed to give you the drum sound that you want. Here’s what developer Mike Greene has to say about it: We believe this is the biggest (and I dare say, best … Continue reading → http://bit.ly/1Xr317e
Vince Clarke Intros Imaginator Eurorack Pattern Generator Synth-pop pioneer Vince Clarke, in collaboration with Analogue Solutions, has announced the release of the Imaginator VCX-378 – a new module that he describes as ‘a practical writing tool’ that can generate musical patterns, based on user-controllable variables. Housed in a 36 HP-width Eurorack … Continue reading → http://bit.ly/1lJWJE4
Finding beauty even in fiery oil refineries: meet Jonáš Gruska He’s an artist who listens to bats, builds microphones (dubbed “ears”) designed to find the most delicate sounds possible, discovers unexpected beauty in the fiery breath of an oil refinery, and helps a label of unusual sounds. So it’s our pleasure to invite Jonáš Gruska to Berlin next week, to present a concert (2.12) (with fellow Slovak-born artists Nina Pixel and Triple Sun), as well as an Elektrosluch-building workshop (1.12) for anyone who wants to both get soldering and hearing otherwise-inaudible electromagnetic utterances in their world. Both at are Platoon Kunsthalle, in the heart of Berlin. He will even transform its metal container walls into an instrument. We talk to Jonáš about his unique musical imagination: Jonáš Gruska ≠ Sonic Close-Ups 14 from Gianmarco Del Re on Vimeo. What is your approach as a sound artist? Do you listen and record for the experience of a concentrated listening itself, or for sharing sounds from your favorite places with others, or do you use your recordings in our musical projects as well? Or something else? Over the years, I have discovered that there is no unifying way I like to do things. Sometimes I record for the sheer timbral quality of certain sounds, their rhythms or melodies; at other times, I use the field recording as a type of documentary work. As you mention, I also use my recordings in compositions, where I combine them with my own input (either synthetic of acoustic). I have to say my favorite field recording of yours are Zvuky Slovnaftu – partly also because you are the only person among the angry sleepless crowd who found a certain beauty in all that mess, and also because of the nice, low frequencies of an industrial fire, merged with the soothing sounds of nature. How did you record this — which devices did you use? For those who don’t know, Slovanft is a oil refinery based at the outskirts of Bratislava. It is known for foul smells and disturbing noises. One day, I heard these unusual, deep rhythmic noises coming from that area. These noise were heard even in the center of the city. Apparently, it was due to some unusual activity, causing huge flame bursts from the refinery’s flare stacks. It was very much impromtpu recording session, I wanted to be sure that I catch the oportunity. Rode my bike there in the middle of the night, found a good spot and hit record. The setup I used is a special foam block I made, fitted with two pairs of microphone capsules in parallel. The foam block arrangement is named SASS and it allows one to capture very realistic stereo image with omnidirectional microphones. I love the way it records quiet ambiances. The recorder I used was a Sound Devices 702. You mostly perform. How do your performances look (sound) like? And how do you choose places for site-specific performances? Most of the time, the places choose me. I am asked by various curators and promoters to try and make something specific for their space. So far, it always worked out very well. I love the idea of creating my work to exact dimensions of space, its imperfections and resonances. How will you approach the site-specific performance at Platoon Kunsthalle 2nd December? My plan for Platoon is to try to make a composition/performance for the metallic walls surrounding the main concert hall. I will be using them as speakers, emitting sound from my custom made software, programed at spot. You’ve founded the LOM label and you do mastering for many of the albums. Since the music varies a lot on these recordings, how do you choose and gather the right artists for the label — how would you define it? We’re actually a small collective of people and we discuss releases together. Basically, we don’t limit our releases genre-wise, but we focus on the approaches musicians have towards making music. We love people who experiment, cross boundaries and don’t focus all that much on following certain hypes or predefined ways. There is also field recording edition “FIELDS,” which I curate on my own. Recently, LOM also became a platform for creating new music software and hardware instruments. Who’s behind each of the instruments created? At the moment, I am the sole designer of these, but there are some instruments in development by my colleague Anagakok Thoth (both hardware and software). At the moment all instrument sold are assembled by us or by robots. Your microphones, Uši and Uši Pro (uši means “ears” in Slovak) are sold out. What do you think is the biggest reason they’ve got so popular? It is hard to talk about your own product without sounding like a salesman, but I honestly love these for field recording. The reason is that they are very small, low-noise, and cheap enough. I am not afraid to experiment with these in various situations, drop them in unknown holes or put them in danger. This allows one to discover new recording techniques and methods for approach… http://bit.ly/1NcQjb2
Vince Clarke Designs New Eurorack Module IMAGINATOR VCX-378 generates musical patterns based on user-controlled variables http://bit.ly/1PNUGeM
DJ Techtools Black Friday / Cyber Monday 2015 Sale The DJTT annual week-long sale is back! We’re excited to announce that things are kicking off on the holiday front with discount from 15% to 60% in our online store. Forget waiting in line at a big box store or supporting a corporate giant like Guitar Center, and shop here at your own DJ community this holiday season. Check out some of the most exciting discounts inside. Black Friday DJ Deals We only throw this type of sale once a year, with major discounts for every DJ and producer to upgrade their DJ setup at an affordable price. Almost everything in the DJ Techtools store is on sale – and if you log into your (free!) DJTT membership account, you can see even more discounts that we’re not allowed to advertise. As always, we deeply appreciate your support and wish every one of you the best in the coming holiday season! Here’s a selection of the best deals, to see everything on sale: Click here to visit the DJ TechTools Black Friday page Midi Fighter 3D + Twister All four variants of the current Midi Fighter line are at an incredible sale – $150 for any Midi Fighter Twister or Midi Fighter 3D – both regularly $219. Traktor Kontrol S5 The new standard for Traktor controllers is affordably priced at $660 – regularly $799. Chroma Caps: $1/Cap Sale! Upgrade your DJ controller and make it look amazing – we’re simplifying our pricing this holiday – get any Chroma Cap for just $1. Chroma Cables Half Off Need to stock up? We are yet again are dropping the Chroma Cables to their lowest price ever just for Black Friday – just $6.25 each! MP2015 Mixer The MP2015 is our favorite modern rotary mixer, score one for $500 off! V-Moda M-100 One of our favorite sets of headphones is on special for this Black Friday – the V-Moda M-100s are just $199! Traktor Kontrol S8 The Traktor Kontrol S8 – ultimate control over Traktor – is just $995 during our Black Friday event! DJTT Soundpacks All DJTT Soundpacks – Mad Zach’s and Ill Gates‘ – are 50% off for a very limited time! Please help support DJ TechTools by spreading the word and sharing this sale with yo’ frandz on social media. Thank you! The post DJ Techtools Black Friday / Cyber Monday 2015 Sale appeared first on DJ TechTools. http://bit.ly/1Ns8sUk
Editor For The Roland Aira TB-3 Synthesizer Reader Momo Miller let us know that he has developed an editor for the Roland Aira TB-3 synthesizer, EFX.Remote. The patch editor lets you edit the effects section and the wave/filter settings on the Roland TB-3. EFX.Remote is available for US $5, for … Continue reading → http://bit.ly/1lgYp7E
STG Soundlabs Intros Integer Dividers For MU Modular Synthesizers STG Soundlabs has officially introduced the Integer Dividers – a new for the Dotcom/MU modular synthesizer format. Integer Dividers is described as a ‘logic-optimized divider’, with outputs from 2 to 16 (except for 11, 12, and 13, which will appear on … Continue reading → http://bit.ly/1TdThgl
bit.ly/1lIDlrg Intros Moog Expansion Systems Modular synth manufacturer bit.ly/1lIDlrg has introduced a new line of Moog Expansions Systems – preconfigured cabinets of synth modules that are designed to complement vintage or modern Moog Modular systems. The Expansion Systems are made up of bit.ly/1lIDlrg modules, which … Continue reading → http://bit.ly/1kSCbcB
Diego Stocco Wants You To Use A Squirrel For A Reverb, Intros Rhythmic Convolutions 2 Impulse Responses Diego Stocco is one of the most creative sound designers around – whether he is creating sounds for OmniSphere, scoring films, building his own orchestra or finding inspiration in strange places. Now he wants to teach you how to use a … Continue reading →
The Red Sound Dark Star – “The Internet’s Most Reviled Synthesizer” Audio Cookbook’s John Keston let us know about a post he’s put up sharing his thoughts on “The Internet’s Most Reviled Synthesizer”, the Red Sound Dark Star. He writes: Despite a glowing review from Sound on Sound on arrival, the … Continue reading →
Out-ER’s soundscapes, driven by real research into the feels We’ve stepped into a music party at OHM, the Berlin venue constructed from a power plant battery room. And it’s clear that the label behind the event, Italian imprint Out-ER, is something out of the ordinary. For one thing, instead of a normal DJ set, we’re treated to what’s described as a “workshop.” And there are regular pauses that announce the link between tracks and the feelings that inspired them. But then, Out-ER’s Simone Gatto (seen, top) is not your typical label chief. Gatto is a philosophy graduate who has researched emotions and empathy, linking them to music and perception. He draws on the work of Swiss composer/educator Émile Jaques-Dalcroze – the man behind Eurythmics (the 19th century movement-based music pedadgogy, not the 80s duo with Annie Lennox). And Gatto is also researching how musicians emotionally engage with their audience when they play. He’s interested in how DJs can intentionally trigger specific emotions. With Gatto at the helm, Out-ER defies predictable categorization. The label’s music ranges from energetic techno to ambient depths – eschewing the darkness that’s all the rage these days for more playful twists. That includes jazzier and more percussive notes from collaborators like Marieu (The Analogue Cops) and Christopher Rau (as Colours of Obseration), plus outings by Orlando Voorn, Mirror1, Andrea Santoro, and Regen. If that didn’t catch your attention, bigger names Legowelt and Conforce have authored remixes. This is a label on the rise. Next: “Nuove Sessioni” (“new sessions”), a four-track EP out on December 10th with three contributions by Alessandro Stefanio (aka Buck) and a remix from Ed Davenport as Inland, Inland’s only remix this year. Listen in its entirety: Having staged the oddball debut event earlier this year, Out-ER is returning to Berlin to celebrate that release with a party and panel at OHM. On the eve of the event, Gatto and Buck talk to CDM about what motivates them. CDM: Where exactly is based your label, when and with who have you founded it? Simone Gatto: I founded Out-ER in 2011 together with Andrea Santoro, Buck, and other friends. We were a group of Italian producers based in Berlin. We spent every single day together in the studio making music and sharing a common vision, trying to define a new sound — our sound. In 2013, we’ve moved back to Lecce, Italy, but we often are in Berlin because we have to take care of label-related activities. How would someone grasp the musical direction of your label – can you put it in few words/sentences? Out-ER music is an uncommon platform extending through various declinations of electronic music (house, techno, ambient). We try to keep a creative imprint in short and long terms because our goal is to release music including everything in between mellow and deep sounds and supporting the artists’ ample inspirations. How do you choose new artists and collaborators for remixes? I’ve always chosen artists mostly considering the strong emotions I felt by listening to their productions and performances. Recently, you joined a conference in Amsterdam, where you talked about how to emotionally manage having a record label. Is owning a label emotionally difficult and what are the main helpers, which conclusions did you get to? Since 2013, I’ve been running research together with some experts from the University of Lecce about the relationship between music and emotions. In Amsterdam, I talked about this topic explaining various aspects – the relationship between sounds and sensations, the empathic process linking performances and audience, specific notes and chords stimulating specific neural areas. It will convey into a book to be published in 2017 and these findings are my main helpers for my personal career and for Out-ER. Managing a record label in the right way requires dedication and knowledge of the aspects just mentioned plus many others, everything needs to convey in the concept of the sound that express the platform at its best. Pressing plant, promotion, distribution, all needs to be coordinated. Press and communication might have a strong role for a right push to the label in long term and that’s why I decided to have a dedicated professional who cares about it all. This way I can focus on my music, on the artist relation and on the management of the bureaucracy questions. You’ve organized two parties in Berlin before. What’s special about the event on 26th November? This time from 10 pm, I’ll introduce the label’s previous and future activities, releases and researches linked to the topic “Music & Emotions”, kicking off a panel discussion together with all the artists. I’ll ask the artists some specific questions which will let them to expose their emotional side of music. Buck will introduce his second EP on Out-ER and will play an experimental jam session with LIMO (head of Transition LAB and part of F…
MFB Dominion 1 Audio Demos The MFB Dominion 1 a keyboard synthesizer that combines the advantages of analog synthesis, modular patching and programmability. This set of videos offers audio previews of the Dominion 1 and its presets: Features: Paraphonic Programmable Analog Synthesizer with 3 Octave Keyboard 2 … Continue reading →
DIY Synth Kit Tribute To Kraftwerk Cute kids turned into electro synth stars
RealiDrums - A New Concept In Drum Libraries Emphsis is on speed of workflow and an innovative Groove Generator
Dolby Atmos: Coming To A Club Near You Since night clubs are all about the music experience, it’s surprising that more time has not be spent on evolving the fundamentals of sound. While loudspeakers, speaker placement, and the quality of bass has improved dramatically over the years, the stereo format still remains king. With Native Instruments’ new Stems idea taking off, has the time finally come to explore new sonic territory? Dolby thinks so, which is why they are rolling out Dolby Atmos (three-dimensional sound) in clubs. Dolby Atmos: The Essential Low Down Here is what we know, and can tell you now (full disclosure – I have worked with the Dolby team on the development of this project for the past year): There will soon be a series of clubs equipped with Atmos sound systems around the world Producers can put a dimensional “Panner Plug-in” directly on their tracks and design where the sound should be placed, or move it around on multiple axes. The Dolby Atmos panner plug-in is AU/VST & AAX compatible There is a Dolby-designed DJ software that plays back these special files and allows DJs to isolate and move parts around the room in real time. This software is compatible with Pioneer CDJ-2000 NXS and DJM-2000NXS mixers – so DJs can play songs on a familiar control surface. All mixing, panning, and effects are done internally, in the computer. There will probably be a series of shows featuring this new technology with artists that have begun mixing their material in the format. The Dolby Atmos Panner Tool Dolby Atmos Club Ecosystem Requirements Plug-ins placed in the mix process to record metadata for movement and position. A fairly large file containing all the musical “objects” and their associated metadata for that song A DJ software that can play back these files and send the movement information to the club’s Atmos system A web of speakers around the room and on the ceiling, which playback the producer’s vision A Dolby Atmos enabled studio In theory, the magical part is that the mix always sounds consistent from studio to club – regardless of size – thanks to clever spacial algorithms that can make sure the position and loudness of all objects stay constant. It’s important to consider that this represents a fundamental shift in thinking around music delivery. Producers would no longer be mixing music down to a stereo image, but instead placing objects in the room, with Dolby processors rendering the final results. Why Build Dolby Atmos For Nightclubs? Dolby is hoping that this Atmos experience will provide a richer creative pallets for producers and a more dynamic live experience for club-goers. With sounds coming from all directions, it should be a more immersive and exciting experience. With many clubs still running in mono, and most patrons in various states of alteration, we can’t help but wonder: will anyone even notice it’s in Atmos? What Is Atmos? What is Dolby Atmos, and how is it different from Surround Sound? In short, Atmos is a multi-dimensional format that allows film creators (and soon, music producers) to place objects anywhere in the room – including above the listener. This format can be translated to any other sized room, including small or big clubs. They do this with sophisticated software, hardware, and custom speaker installations that cover the entire room. With a Dolby Atmos-enabled room, you can hear parts not only separated (like the vocals coming from just overhead) but in theory you can also hear parts moving around the sound space (hi-hats could rotate around the room). “Dolby Atmos is not based on channels, but on audio objects. What is an audio object? Any sound heard in a film or song—a child yelling, a helicopter taking off, a hi-hat clanging, a bass line thumping—is an audio object. Artists using Dolby Atmos can decide exactly where those sounds should originate and precisely where they move as their experience unfolds.” There are already many notable albums that have been mixed in Atmos and can be played back at home on Blu-ray including Roger Watters: The Wall – but this is their first foray into dance music technology. My Personal Opinion The concept of spacial multi-dimensional sound in clubs is intriguing, I have heard many demos in the studio and here at a San Francisco club, and yes, it’s a pretty interesting experience. With so much space, a producer has the ability to really separate sounds and not have them fighting for the same sonic/stereo territory. Of course, the downside is that this totally eliminates years of dance music production techniques, including: Layering of sounds to create masking or harmonics Mastering and compression to induce rhythmic pumping If successful and adopted, this would create a completely new language of mixing that would need to be developed and evolve in its own direction. For example, techno produced for Atmos might become something completely different as the fundament…
Chandler's 'Beatles' Compressor Ships RS124 Compressor is a modern version of Abbey Road Studio's revered hardware
MASCHINE Made Easy Native Instruments introduces new TruTorials short video series
Light-Controlled Synth Is Your Noise Friend @bleeplabs
Deep Forest – Oyme’s Song Eric Mouquet of Deep Forest shared his latest video, for Oyme’s Song: The video features Mouquet, performing on his huge collection of vintage and modern synths, and the vocals of Oyme, ‘one of the most outstanding ethno-bands of Russia’. The track … Continue reading →
The Harvestman Sequencer For Eurorack Modular Synthesizers (Sneak Preview) The Harvestman shared this sneak preview of their upcoming sequencer module – relaxing at Sweeney’s Bar in Dublin. Details on the Harvestman Sequencer for Eurorack modular synthesizers is to come….unless you happen to be relaxing at Sweeney’s Bar in Dublin.
The Wooden Audio Sequencer The Wooden Audio Sequencer is a tangible music controller, created as a project by Ernest Warzocha, Jakub Wilczewski & Maciej Zelaznowski for the Physical Computing and Creative Coding course at School of Form. The custom controller follows the standard timeline, with individual … Continue reading →
Bleep Labs Intros Thingamagoop 3000 Synthesizer + ‘Noise Friend’ Bleep Labs has introduced the Thingamagoop 3000 – a light controlled synthesizer, effect and ‘noise friend’. Simple controls give you access to rich and diverse sounds, from simple square and triangles waves to complex FM laser battles. Features: 16bit, 44kHz Audio in … Continue reading →
DIY synth legend Ray Wilson needs help in cancer fight There’s probably no more prolific man in the DIY synth scene than Ray Wilson. His Music From Outer Space has a galactic-sized library of projects for electronic musicians. And that’s just part of his contributions. So that means all of us in this community are hugely saddened to learn that Ray faces serious cancer. With self-employed health care still a major challenge in the United States, that brings with it crippling medical expenses. His kids have turned to crowd funding to try to fight to get him treatment he needs. You can read through that story on the funding site, but in the meantime, I’ll just refer to Ray’s accomplishments – just a few that he’s shared as a musician and inventor: Music from Outer Space is an extraordinary archive of materials. (I was just referring to it for a story for MAKE in Germany.) He’s the creator of projects like the Weird Sound Generator. He has built an entire soup-to-nuts project for making your own modular analog synth, the MFO. He’s the author of Make: Analog Synthesizers. And to top all of this (and many other achievements), he has himself contributed to the health of others, in the research and development of implantable defibrillators and pacemakers. I hope dearly that karma can be returned. You can contribute here:http://bit.ly/1XlTb6B And in the United States and around the world, this is another reminder that artists and inventors can give more if health care gives to them. The latest from Ray’s YouTube channel: And a look at that amazing DIY synth: The post DIY synth legend Ray Wilson needs help in cancer fight appeared first on Create Digital Music.
Whats new in IZotope RX5 (video) @izotopeinc
You can now access the Push 2 display from Max Ableton’s Push 2 has a big, beautiful, color display. But what goes on that display is limited to what Ableton has built in – or, rather, it was, until now. London-based producer/hacker sigabort has already built a Max object that lets you access the display directly as a high-res, color texture. Max boffins, this means you can even use Jitter objects directly. And for those who have no idea what the previous sentence just meant, think of it this way: Max for Live objects will now be able to create their own full-color visual outputs, for practical or entertainment purposes. It’s fast, too – roughly 18 fps rendering and native externals for Mac and Windows. As if that weren’t enough, a standalone library is coming, too. You can try out a free, time-limited (60-minute) version, or go ahead and donate a minimum of 5GBP via PayPal (more for commercial use). Yep, we’ll be watching this one – and what you do with it. Just don’t use Comic Sans, okay, unless you work for CERN. http://bit.ly/1LvOh09 Thanks to @archnerdian / Safet for the tip! The post You can now access the Push 2 display from Max appeared first on Create Digital Music.
Collidoscope is a giant table-top granular instrument Once, weird instruments only made the rounds at exclusive academic conferences. Now, they go viral on Facebook. Such is the case with Collidoscope, the creation of a UK-based mixing and mastering service (out of London label Sunlightsquare Records) and a Queen Mary researcher. (Nick Fiore? Fiora? Nick, if you’re out there, give us a shout.) It’s a massive tangible table-top interface to a granular instrument. There are a few things that make this one special, even to those of us who have seen such items before. 1. It’s big. It appears that the basis of this is a very large display, cleverly built into a slick-looking table-top interface. 2. It’s visual. A crisp, clear waveform display attractively shows you where you are. Nicely executed, that. 3. It’s physical. Big knobs and faders and a keyboard set this apart from the iPad apps and whatnot that do the same – and also set up the possibility for collaboration. 4. It samples. Built-in sampling is connected to a SuperCollider engine underneath for responsive sonic control. More here, though they’re a bit scant on details other than it’s a one-off prototype. (And the site is, sadly, orange and full of big ads! But the prototype itself is great!) http://bit.ly/1XlGFnM Built your own interesting granular controller? We’d love to see it. Seems this could also be a chance to open up design ideas. Speaking of which, I really should come up with a better interface for my own mangled Pd creation and maybe clean up the patch enough that I wouldn’t be embarrassed to let anyone see it! But really brilliant and inspiring work, lads! This raises the bar. Or, at least, the table. The post Collidoscope is a giant table-top granular instrument appeared first on Create Digital Music.
SoundScaper 1.4 Adds Scene Morphing And More ‘Experimental sound mini lab’ SoundScaper has been updated with morphing scenes, improved MIDI and AudioBus support, and more. SoundScaper is designed for creating soundscapes, atmospheric textures, drones, glitches and noises based on circuit bending ideas. Here’s what’s new in SoundScaper 1.4: … Continue reading →
Ott – Multiverse (Moog Modular System 55 Sequencing) Sunday Synth Jam: This video, via Moog Music, captures a sequenced synth jam, Multiverse, by ‘psychedelic dub artist’ Ott. In the video, Ott explores the possibilities of the Moog Modular System 55, using the sequencer and live tweaking to create a … Continue reading →
Volca Sample OK GO Edition Hands-On Demo Korg shared this pair of videos that take a hands-on look at working with their new Volca Sample OK GO Edition. In the first video, above, Chief engineer Tatsuya Takahashi walks you through a step by step of how to program … Continue reading →
One Man Synth Band Synth Jam Sunday Synth Jam: This video, via Burg (Jouni Ollila), captures a one-man synth band synth jam, Desolate Planets. Ollila says “This is a song about emptiness in our hearts, and being far away from friends — a laid back downtempo … Continue reading →
Synth DIY/ bit.ly/1QDxNuT Ray Wilson needs your help Recent diagnosis means mounting medical costs - give him a hand
Moog System 55 Modular Synth In Action @moogmusicinc
Envelope Shaper For iPad And AU/VST @klevgrand
MIDI Controller App For iPhone Miditure has been designed to get the most out of Apple's new 3D Touch capable devices
Collidoscope Prototype Synth In Action Unique double granular instrument can be played by two performers at the same time
Pioneer DJM-S9 Review: A New Hybrid Battle Mixer Pioneer is set to start rolling out their brand new, two-channel DJM-S9 battle mixer to stores in the next few weeks. We decided to send our review unit over to two DJTT friends who know Pioneer DJ gear very well – DJs Cotts and Ravine – and have them take it for a spin and share their thoughts. Watch the full review inside and enter a contest to win a DJM-S9 for yourself! DJM-S9 Review Reviewed: DJM-S9 battle mixerManufacturer: Pioneer DJPrice: Preorders for $1697 hereAvailability: ~end of November Review Highlights Don’t have time to watch the full review? Some of the biggest highlights on this DJM-S9 include: FX switches similar to the RMX-1000 release FX switch – allows quick addition of effects in a fun way. All onboard FX are post fader – designed for quick turntablist FX additions, a bit different from Color FX. RGB performance pads have four modes – similar to on Pioneer DDJ Serato controllers – Hot Cue, Roll, Slicer, and Sampler. Wide array of crossfader adjustments on the front of the unit Instant mic echo control on the front panel Much improved turntable grounding posts (they’re all metal, way easier to use than any others on Pioneer gear) Dual soundcards allow two DJs to do back-to-back sets or just easy DJ swapouts Magvel Fader Pro – magnetic contactless crossfader like on Rane battle mixers (way better for cutting than on other DJM units). Also super-smooth upfaders! Have any questions about the new DJM-S9 mixer? Let us know in the comments below and we’ll answer them. Watch More: Cotts and Ravine share their insider CDJ tricks in this tutorial. The post Pioneer DJM-S9 Review: A New Hybrid Battle Mixer appeared first on DJ TechTools.
Hands On With The Moog Theremini In this video, classical thereminist Carolina Eyck tries out the Moog Theremini, explores its capabilities and shares her first impressions of it. Starting at about 5 min in, Eyck performs an improvisation using the Theremini. This is part of a series … Continue reading →
An Interview With Leafcutter John On The Art + Music + Technology Podcast The latest episode of the Art + Music + Technology podcast is an interview with London-based songwriter & electronic music artist Leafcutter John. Here’s what host Darwin Grosse has to say about the interview: I’ve gotten so many requests to … Continue reading →
Synth DIY Guru Ray Wilson Of Music From Outer Space Has Cancer And Needs Help The family of Music From Outer Space founder Ray Wilson has announced that he is fighting Stage 4 cancer and that he could use the help of the synth community. Wilson has been a leader in synth DIY for years … Continue reading →
Kuvert Lets You Create Complex Envelope-Controlled Rhythmic Effects Klevgränd Produktion AB has introduced Kuvert – the ‘Swedish Envelope app’. Kurvert allows you to draw five different envelopes. These envelopes control different effect parameters, and can be drawn freely or onto a grid. The envelopes are looped, letting you create … Continue reading →
Klevgränd Produktion AB has introduced Kuvert – the ‘Swedish Envelope app’. Kurvert allows you to draw five different envelopes. These envelopes control different effect parameter…
An Introduction To Euclidean Rhythms This video, via Voltage Control Lab, takes a look at Euclidean Rhythms, Godfried Toussaint’s theory that The Euclidean Algorithm Generates Traditional Musical Rhythms (pdf). The basic concept of Euclidean Rhythms is that distributing an arbitrary number of beats evenly over a larger number of … Continue reading →
This video, via Voltage Control Lab, takes a look at Euclidean Rhythms, Godfried Toussaint’s theory that The Euclidean Algorithm Generates Traditional Musical Rhythms (pdf).
Roland System-500 Analog Eurorack Modules Official Details Roland has released official details on their new System-500 analog Eurorack synthesizer modules. The System-500 is a fully analog recreation, in Euro format, of the classic Roland System-100m modular synthesizer. The modules are produced in collaboration with established Euro manufacturer Malekko Heavy Industry. According to Roland, … Continue reading →
Roland has released official details on their new System-500 analog Eurorack synthesizer modules. The System-500 is a fully analog recreation, in Euro format, of the classic Roland System-100m modu…
IK Multimedia Intros iRig Keys Mini IK Multimedia has introduced the iRig Keys Mini, an ultra-portable MIDI mini keyboard that they puts “a full-featured playing experience in an ultra-compact enclosure”. Features: 25 velocity-sensitive mini-keys (2 full octaves range plus 1 note) Volume/Data knob (assignable) Back-lit, soft-touch … Continue reading →
IK Multimedia has introduced the iRig Keys Mini, an ultra-portable MIDI mini keyboard that they puts “a full-featured playing experience in an ultra-compact enclosure”.
Arturia iSEM Now Works As An Audio Unit Extension Arturia has released an update to its iSEM for iOS, adding Audio Unit Extension support. The Audio Unit Extension format lets software synths and effects be loaded in other applications. iSEM. can now be directly launched in an Audio Unit host … Continue reading →
Arturia has released an update to its iSEM for iOS, adding Audio Unit Extension support.
BeatStep Pro Updated With ‘Wait To Load Pattern’, Pattern Chaining & More Arturia has released a free update to the BeatStep Pro that adds user-requested features, making it, according to the company, ‘more powerful than ever’: The sequencer has been enhanced with quantized pattern launch and pattern chains; Parameters can now be edited for … Continue reading →
Arturia has released a free update to the BeatStep Pro that adds user-requested features, making it, according to the company, ‘more powerful than ever’: The sequencer has been enhanced…
The Collidoscope Synthesizer – A Collaborative ‘Musical Microscope’ The Collidoscope, above, is a hardware synth prototype, created by researchers Ben Bengler & Fiore Martin, that is a ‘musical microscope’ for up to four people. “Think of Collidoscope as a musical microscope that allows you to zoom into sounds and explore their … Continue reading →
The Collidoscope, above, is a hardware synth prototype, created by researchers Ben Bengler & Fiore Martin, that is a ‘musical microscope’ for up to four people. “Think of Col…
As other DJ controller gets bigger, this one’s still tiny It doesn’t have screens. There are no giant wheels or touchstrips. There’s no complex software integration, or built-in mixer, or pads for remixing. But what the DJ4 is is what you might be missing in other DJ controllers. It’s got the controls you need in a tiny, tiny footprint that won’t have you hunting for new luggage or scrambling around a venue to find a bigger table because your gear won’t fit in the booth. (Ahem, yes, you know who you are, giant controllers.) And unlike the increasingly branded, computer-tied world of DJ controllers, this one also works with anything – now even as a MIDI controller without a computer in sight. In other words, it’s a Faderfox. Out of the box, the German-built box does work with the German DJ software of choice, Native Instruments Traktor Pro and Ableton Live. You get eight centered pots for EQ and filter, and three faders in a two channel / crossfader configuration. Effects are unbelievably crammed in there, too, via push-button access, though by the time you’ve gone this small, you could easily map another of the Faderfox range. What’s new on the DJ4: MIDI ports, for use standalone with hardware gear (or to make this double as a MIDI interface) Four additional buttons (filter and kill) Four saved setups, with programmable behavior, making it easier to map this to other software Colored caps so you can see controls more easily in low light The switchable MIDI routings and parameter mappings to me are really appealing. I’m a huge fan of what Ableton and Native Instruments have done with their own hardware. But on the other hand, you’re beginning to see a situation where you’re carrying around a dedicated controller for each app. Faderfox remains a holdout in the industry for general-purpose controls. Since this runs on 5V power, you can use a standard USB power adapter for standalone operation. For everything else, you can bus power, including via the Camera Connection Kit on iPad. I haven’t yet got to try those new caps, but otherwise this looks like standard Faderfox stuff, which is to say tiny and indestructible. Special controller for DJ software (optimised for Native Instruments Traktor Pro) iPad compatible with camera connection kit Setup files for Traktor Pro and Ableton Live are shipped with the controller USB interface – class compliant / no driver necessary MIDI in and out ports with routing and merge functionality Controls up to four decks – easy switching between deck A-C and B-D on the fly Four FX slots available 4 multifunctional push encoders with detents switchable to 7 groups 24 colored buttons All controls with double function by holding down the shift button 22 LEDs in different colors to display feedback informations 4 internal setups with various programmable functions USB bus powering – consumption less than 500mW / 100mA Very compact design in a black, plastic casing (desktop format) Size 180 x 105 x 70 mm, weight 350 g Black aluminium front plate with laser inscriptions (abrasion resistant) High-quality faders, pots and encoders from ALPS New rubber knobs for best tactile feeling The UC4 universal controller remains the most interesting generic controller, and standalone step-sequencing on the SC4 is also nice. But it’s nice to see the fourth-generation range finished out. 192€ before VAT (so that’s the price anywhere outside Europe). More: http://bit.ly/1MZI8P8 The post As other DJ controller gets bigger, this one’s still tiny appeared first on Create Digital Music.
Forget about custom cases and extra space on your tech rider. The new Faderfox does DJ apps, iOS, standalone MIDI in a tiny space.
BeatStep Pro v1.3 firmware released Adds pattern chaining and more We reviewed the Arturia BeatStep Pro back in the October 2015 issue (http...
We reviewed the Arturia BeatStep Pro back in the October 2015 issue (http://sosm.ag/oct15beatsteppro) and were rather taken with it. Now its makers have released un update to its firmware (version 1.3)...
Use a hardware synth like it’s a plug-in – in a $60 DAW With a little setup, you can integrate a hardware synth with Reaper as if it’s a software plug-in. Check out the video tutorial from The Reaper Blog to see how. Reaper is a terrific “indie” DAW for the budget-conscious. Just $60 buys you an individual personal license with a bunch of free upgrades. (“Commercial” use is described as anyone making more than $20k a year – plenty of very serious musicians make less than that.) The price is nice, but an even better reason to respect Reaper is that the developers at Cockos consistently pack in lots of engineering details. The ReaInsert plug-in seen here is a good example. ReaInsert lets you individually map sends and returns for audio, remap MIDI channels, define volume for sends and returns, and even “ping” to automatically set delay compensation, all via a single interface. All of this is possible in other DAWs, but typically with more manual configuration in different locations, not what’s available here in this integrated interface. And the upshot of all of that is, after configuring the tutorial, you can “set it and forget it” – using any synth as if it’s software. (Kudos to Elektron for their cool Overbridge tech, but this can cover everything else.) So let’s add up costs: Reaper is sixty bucks, our newest MeeBlip anode will set you back $120 (now, ahem, with free shipping, the Marketing Department would like to remind you, that department also being, erm, me) — throw in an audio/MIDI interface and you’re ready to go. Thanks, Jon, for the tutorial and the opportunity for some blatant synth promotion. Now I’m going to check out these other tutorials, and consider doing the next track in Reaper. Using Hardware Synths with ReaInsert The post Use a hardware synth like it’s a plug-in – in a $60 DAW appeared first on Create Digital Music.
With a little setup, you can integrate a hardware synth with Reaper as if it’s a software plug-in. Check out the video tutorial from The Reaper Blog to see how. Reaper is a terrific “indie” DAW...
Alesis VX49 - A Smarter Keyboard Controller @Alesis
New keyboard offers direct control of virtual instruments without a computer
Arturia iSEM Synth Upgraded @ArturiaOfficial
Oberheim-style synth app now works with Apple's all-new Audio Unit Extensions
Special Edition Of The Atmegatron 8-Bit Synth @SoulsbySynths
Soulsby Synthesizers give us a sneak preview of the Odytron Special Edition
Midget MIDI Controller Ships @ikmultimedia
IK Multimedia releases the ultra-compact iRig Keys MINI
Should Warmup DJs Hold Back Or Play To The Crowd? Almost every DJ has heard the passionate arguments for why opening acts should show restraint and only exist to serve the headliner’s set. But what if they’re wrong? What if opening DJs should play to the crowd and not to the headliner’s personal preference? Read some great alternate viewpoints from experienced DJs in today’s article from guest contributor Steven Maude. The Traditional View On Opener DJs This article is supposed to be about warm-up DJs, but the more I think about it, the more pointless it seems. There’s a prevalent “shared wisdom” out there that says the role is well-defined: “Always be respectful of what your job is and how it differs to the headliner” – Mistajam “You’re not trying to blow the lid off the place yet” – Spin Academy “Play familiar music, but not peak-time tracks” – DDJT It seems that everyone agrees: warm-ups should know their place and stick rigidly within that set of well-defined boundaries. With these ideas so commonly propagated, sometimes with outright hostility towards warm-ups, seems like my job’s easy: agree completely, hit submit, then watch the likes, retweets and page views roll in. OK, thanks for reading! In Defense Of Warmup DJs Playing To The Crowd Hold on, wait. There are some dissenting voices too. Sometimes even influential DJs, in their own words, “stand up for the little guy”. Being in the business for longer than many DJs have been alive, Fabio and Grooverider are two of the most important DJs in crafting the sound of UK jungle and drum and bass. So, when they talk, it’s not just entertaining, but often an education. Their discussion about warmup DJs (skip to 1:40:00 in the above Soundcloud player) is worth taking the few minutes to listen to as they fire off several arguments that go against this grain: 1. Big name DJs usually start out as warm-ups Of course there’s the odd exception where an unknown producer unleashes a hot new track, bumping them to the top of the bill (regardless of whether they have any DJ credentials). Otherwise, just like Drake, most DJs start from the bottom. How are competent DJs meant to progress beyond an opening slot, unless they somehow stand out? Maybe you have a producer sideline and can hope that your talent on that side, along with some luck, will eventually bump you up the bill? If not, then it’s your DJ performances alone that will make you. Or not. As Fabio says: “You get your chance… you got to take it, it’s simple as that.” 2. Why stop the warm-up from playing big records? If this is the dancefloor when a warmup DJ is playing, then big tracks aren’t appropriate. (photo credit: Marcelo Páez Bermúdez on Flickr) Fabio and Grooverider are not impressed at the idea that certain records shouldn’t be played by the warm-up either, just because they are too big. Prescribing what anyone should or shouldn’t play doesn’t seem right to me either. If the warm-up DJ’s competent, they’ll know what’s right or wrong for the moment themselves. No hand-holding required. Of course, playing big tunes while the dancefloor’s empty would seem odd. But what about later in the set, if the moment happens to be right? It’s the context at a specific instant that’s all-important, and not following dogmatic rules. Plus, if you are a headliner, aren’t you going to have the bigger records? Grooverider puts it more combatively: “If you’re going into a party and playing the same tunes as a warm-up DJ, you should be a warm-up DJ too.” You could say that the main act’s tracks should be certainly off-limits, and you’re obviously not going to make friends with anyone doing something like this: Shout out to the warmup DJ of the year who managed to play 10 @ericprydz tracks before him last night in Montreal — Arnej (@ArnejOfficial) October 25, 2015 But, if the headliner’s had a long, illustrious career, maybe a warm-up asking to play one or two of their older tracks isn’t an awful idea? It certainly makes for a nice segue into the headliner’s set. Surely working with the warm-up rather than battling against them is a better way to go? And, even then, so what if the warm-up completely screw up and play a bunch of big songs? Grooverider is straight to the point on this: “what, you can’t find another twenty tunes to play?” 3. The headliner is in the main slot only because they are great performers “If you’re a big DJ getting X amount of pounds for an hour’s session, how are you fearing the warm-up DJ?” A warm-up can make a headliner’s job easier, but a big name should be able to professionally cope with the unexpected, otherwise why is their name up there? The worst cases where the warm-up manages to pull off a major faux pas and ruin what the headliner has planned, yes, that’s a bad move, but the headliner should have the talent and experience to brush it off and get the show back on track. Sometimes with more theatric productions with advanced visuals and li…
How should warmup DJs play? Advice on how playing a more restrained set as an opener DJ might not actually be the path to success.
V-Moda Crossfade Wireless + Roland M-100 AIRA As 2015 comes to a close, companies are releasing their last products of the year. Today two new headphones from V-Moda. The first being V-Moda Crossfade Wireless Bluetooth-enabled headphones, and the second being Roland’s collaboration with V-MODA, the M-100 AIRA headphones which are made to be the perfect headphones solution to use with Roland’s AIRA gear. V-MODA’s Crossfade Wireless Headphones According to V-Moda CEO Val Kolton, the company has been working on the V-MODA Crossfade headphones for many years to find a way to create headphones that have wireless capabilities and superb analog sound quality. The Crossfade Wireless headphones use Bluetooth to connect to devices wirelessly up to 33 feet and can support 12 hours of music on a single charge. A 30 minute quick charge gives the headphones 3+ hours of listening. Of course, this isn’t the feature a DJ will be using however what DJs will like is that the sound quality is the same (if not better, according to Val) as the popular M-100s. That being the case, a DJ can easily transition from listening to warm up tracks off their phone via Bluetooth and then easily transition into DJing by plugging in an audio cable, which automatically switches the headphones from wireless mode to zero-latency, analog mode, requiring no power with unlimited hours of listening. Also, like the M-100s, the Crossfade Wireless headphones are customizable with shield kits, cables, and various cushion sizes. Roland + V-MODA = Specialty Headphones Along with the release of their Crossfade Wireless headphones Roland has announced that the company collaborated with V-MODA to create a special design of the M-100s that are specifically tailored to Roland’s AIRA gear. The M-100 AIRA series aims at providing electronic musicians with high-quality analog headphones that boast a dual-diaphragm 50 mm driver and a 5–30,000 Hz frequency response range. There isn’t much differentiation from the M-100s, but these headphones are optimized to fit the specific sound of the AIRA gear so fine-tuning the sounds of the TB-3 bass synth and the TR-8 drum machine are said to be more precise with these headphones. There’s no release date at this time or how much these headphones will run but we can expect to price point to be comparable if not a bit more than the M-100s. The Crossfade Wireless headphones are available now from V-MODA for $299. The post V-Moda Crossfade Wireless + Roland M-100 AIRA appeared first on DJ TechTools.
V-Moda has two new headphones out now - the Crossfade Wireless and the Roland M-100 AIRA models.
Swapping Out DJ Mixers: Throwback Thursday DJ Technique There are tons of reasons to need to change out a DJ mixer during a set or club night – but that doesn’t mean you have to turn off the music and unplug everything. In today’s Throwback Thursday video from Ean, he shows how a simple stereo cable swap out allows DJs to keep some of the music going while changing DJ mixers. Watch how it works inside: Swapping DJ Mixers A few things to keep in mind when swapping out DJ mixers in this way: You might get a few pops or clicks when you’re unplugging/replugging in RCA cables. This is ok – a good way to minimize this is to make sure that you turn down a mixer before plugging it in. It’s not going to eliminate everything but it will allow you to fade the music in and out without sudden jumps. Make sure you know what the master outputs really are – for instance, in this video, you’ll note Ean swapped to Session out on the second mixer – because that was the output to the “master” output (aka the recorder we used to record the audio for this video). If you have a non-traditional master output, know what it is before you start changing things around Have people to help you out! To swap a DJ mixer out, especially one that doesn’t have room for a second mixer next to it, you’ll need people to lift up the mixers and physically change them out. You’ll also want someone watching at ALL times to make sure that no cables get too taut – this is how you accidentally unplug the power to your audio source and defeat the whole point of swapping out the mixer. Having someone “spot” the process prevents this. Do you have any stories of having to swap out DJ gear on the fly during a gig? Let us know your experiences in the comments below! The post Swapping Out DJ Mixers: Throwback Thursday DJ Technique appeared first on DJ TechTools.
Want to tackle swapping out DJ mixers during a set without stopping the music? This tutorial explains exactly how to make it happen.
New Roland SYSTEM-500 Modules @rolandus
Something to put in that new Roland Eurorack case, then...
Roland officially announce System-500 & power rack New Eurorack synth modules and PSU/travel case announced Roland officially announce details for the five individual System-500 modules that they previewed at Musikmesse...
Roland officially announce details for the five individual System-500 modules that they previewed at Musikmesse earlier this year. Part of the AIRA Modular series, these all-new, fully-analogue modules...
Ultimate Ears Pro launch hi-res in-ear monitors UE Pro partner with Capitol Studios to create hi-res capable monitors Ultimate Ears Pro (UE Pro) continue their 20+ year legacy of innovation with their latest custom in-ear monitor, the...
Ultimate Ears Pro (UE Pro) continue their 20+ year legacy of innovation with their latest custom in-ear monitor, the UE Pro Reference Remastered, an in-ear monitor tuned for high-resolution audio. This...
SOS December 2015 issue out now Ben Folds, The Weeknd + Ableton Push 2 inside The December 2015 issue of Sound On Sound is now on sale. As always, the latest issue of ...
The December 2015 issue of Sound On Sound is now on sale.
Roland Intros Suitcase-Style Eurorack, Modular Synth Case Roland today introduced the SYR-E84 Eurorack Case – a suitcase-style design for their System-1m, Aira effects modules, new analog Eurorack modules and Euro modules from other manufacturers. The SYR-E84 Eurorack case features a black aluminum enclosure and wood side panels. The versatile case … Continue reading →
Roland today introduced the SYR-E84 Eurorack Case – a suitcase-style design for their System-1m, Aira effects modules, new analog Eurorack modules and Euro modules from other manufacturers. …
Roland Intros M-100 Aira Headphones Roland today announced a new addition to their Aira line, the M-100 Aira headphones, a collaboration with V-MODA. The M-100 AIRA headphones feature: XL memory foam ear cushions dual-diaphragm 50mm drivers 5-30,000Hz frequency response Heavy-duty two-meter cable that incorporates a secure … Continue reading →
Roland today announced a new addition to their Aira line, the M-100 Aira headphones, a collaboration with V-MODA.
Noatikl 3 Generative Music Composer Now Available Intermorphic has introduced Noatikl 3, the latest version of their iOS generative music system. Noatikl a 16 track MIDI generating system, with 120+ parameters & many included generative music templates. Sound generation is via the integral Partikl Sound Engine, a stereo sound … Continue reading →
Intermorphic has introduced Noatikl 3, the latest version of their iOS generative music system. Noatikl a 16 track MIDI generating system, with 120+ parameters & many included generative music …
Podcast: Sonic TALK 426 - From The Finger To The Mouth And Flesh We start with a look at the DBX GoRack, a portable PA enhancing solution, then Tim Exile's Reaktor 6 based instrument Flesh, the panel disclose a few of their favourite utilities, the Mandala V3 drum pad system, and Markus Fuller's Boutique JP-08 teardown.
DBX GoRack, Tim Exile, Mandala V3 Drums, Markus Fuller JP-08
Roland Introduces Its First Eurorack Case The SYR-E84 fits AIRA modular electronic instruments as well as standard Eurorack modules
The SYR-E84 fits AIRA modular electronic instruments as well as standard Eurorack modules
Beat-Making Sketchpad For iOS Expanded Native Instruments introduces iMASCHINE 2
Native Instruments introduces iMASCHINE 2
Stacking LP's to build up a track is really cool
Mechanical Techno Demonstration by Graham Dunning Video produced by Michael Forrest. Made at Lime Wharf Machines Room as part of Rhythm & Drone // Research &...
elysia Releases karacter 500 Discrete Class-A Stereo Saturator 500-series unit offers mastering-grade saturation and tube-inspired distortion
500-series unit offers mastering-grade saturation and tube-inspired distortion
Expert Sleepers Update disting Eurorack Module @expertsleepers
disting mk3 features more algorithms and control options
Minimoog-Inspired Filter For Reason @primalaudio
Primal Audio releases Ladder, the first circuit simulated filter for Reason
Free Triggered Subharmonic Percussive Synth Metric Halo releases Thump for Mac and Windows
Metric Halo releases Thump for Mac and Windows
Cheshire Kit Cat Synth (Sneak Preview) Twisted Electrons shared this sneak preview of the ‘easy to make, easy to play’ Cheshire Kit cat synthesizer. The Cheshire Kit is a DIY cat synthesizer that features simple synth controls, 13 touch-sensitive keys and a built-in arpeggiator. Here’s a demo of … Continue reading →
Twisted Electrons shared this sneak preview of the ‘easy to make, easy to play’ Cheshire Kit cat synthesizer.
Soulsby Atmegatron Odytron Special Edition (Sneak Preview) Paul Soulsby of Soulsby Synthesizers shared this sneak preview of his new Odytron Special Edition of the Atmegatron: The Atmegatron is a customizable 8-bit digital monosynth that can load several different firmware options that give it different synth ‘personalities’. The Odytron is ‘a … Continue reading →
Paul Soulsby of Soulsby Synthesizers shared this sneak preview of his new Odytron Special Edition of the Atmegatron:
Inside The Roland System-1m Eurorack Synthesizer The latest video in Markus Fuller‘s teardown series takes a look inside the Roland System-1m synthesizer: The new synth, which Roland describes the new synth as ‘modular for the masses.’, combines the company’s Plug-Out technology with CV/GATE and Eurorack compatibility.
The latest video in Markus Fuller’s teardown series takes a look inside the Roland System-1m synthesizer: