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Indian E-music – The right mix of Indian Vibes… » analog


Speaking in signal, across the divide between video and sound: SIGINT

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 16 May 2018 5:58 pm

Performing voltages. The notion is now familiar in synthesis – improvising with signals – but what about the dance between noise and image? Artist Oliver Dodd has been exploring the audiovisual modular.

Integrated sound-image systems have been a fascination of the avant-garde through the history of electronic art. But if there’s a return to the raw signal, maybe that’s born of a desire to regain a sense of fusion of media that can be lost in overcomplicated newer work.

Underground label Detroit Underground has had one foot in technology, one in audiovisual output. DU have their own line of Eurorack modules and a deep interest in electronics and invention, matching a line of audiovisual works. And the label is even putting out AV releases on VHS tape. (Well, visuals need some answer to the vinyl phonograph. You were expecting maybe laserdiscs?)

And SIGINT, Oliver Dodd’s project, is one of the more compelling releases in that series. It debuted over the winter, but now feels a perfect time to delve into what it’s about – and some of Oliver’s other, evocative work.

First, the full description, which draws on images of scanning transmissions from space, but takes place in a very localized, Earthbound rig:

The concept of SIGINT is based on the idea of scanning, searching, and recording satellite transmissions in the pursuit of capturing what appear to be anomalies as intelligent signals hidden within the transmission spectrum.

SIGINT represents these raw recordings, captured in their live, original form. These audio-video recordings were performed and rendered to VHS in real-time in an attempt to experience, explore, decipher, study, and decode this deeply evocative, secret, and embedded form of communication whose origins appear both alien and unknown, like paranormal imprints or reflections of inter-dimensional beings reflected within the transmission stream.

The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The Modular Audio/Video system allows a direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each. The modular system used for SIGINT was one 6U case of only Industrial Music Electronics (Harvestman) modules for audio and one 3U case of LZX Industries modules for video.

Videos:

Album:

CDM: I’m going through all these lovely experiments on your YouTube channel. How do these experiments come about?

Oliver: My Instagram and YouTube content is mostly just a snapshot of a larger picture of what I am currently working on, either that day, or of a larger project or work generally, which could be either a live performance, for example, or a release, or a video project.

That’s one hell of an AV modular system. Can you walk us through the modules in there? What’s your workflow like working in an audiovisual system like this, as opposed to systems (software or hardware) that tend to focus on one medium or another?

It’s a two-part system. There is one part that is audio (Industrial Music Electronics, or “Harvestman”), and there is one part that is video (LZX Industries). They communicate with each other via control voltages and audio rate signals, and they can independently influence each other in both ways or directions. For example, the audio can control the video, and the control voltages generated in the video system can also control sources in the audio system.

Many of the triggers and control voltages are shared between the two systems, which creates a cohesive audio/video experience. However, not every audio signal that sounds good — or produces a nice sound — looks good visually, and therefore, further tweaking and conditioning of the voltages are required to develop a more cohesive and harmonious relationship between them.

The two systems: a 3U (smaller) audio system on the left handles the Harvestman audio modules, and 6U (taller) on the right includes video processing modules from LZX Industries. Cases designed by Elite Modular.

I’m curious about your notion of finding patterns or paranormal in the content. Why is that significant to you? Carl Sagan gets at this idea of listening to noise in his original novel Contact (using the main character listening to a washing machine at one point, if I recall). What drew you to this sort of idea – and does it only say something about the listener, or the data, too?

Data transmission surrounds us at all times. There are always invisible frequencies that are outside our ability to perceive them, flowing through the air and which are as unobstructed as the air itself. We can only perceive a small fraction of these phenomena. There are limitations placed on our ability to perceive as humans, and there are more frequencies than we can experience. There are some frequencies we can experience, and there are some that we cannot. Perhaps the latter can move or pass throughout the range of perception, leaving a trail or trace or impressions on the frequencies that we can perceive as it passes through, and which we can then decode.

What about the fact that this is an audiovisual creation? What does it mean to fuse those media for a project?

The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The modular audio/video system allows direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each.

And now, some loops…

Oliver’s “experiments” series is transcendent and mesmerizing:

If this were a less cruel world, the YouTube algorithm would only feed you this. But in the meantime, you can subscribe to his channel. And ignore the view counts, actually. One person watching this one video is already sublime.

Plus, from Oliver’s gorgeous Instagram account, some ambient AV sketches to round things out.

More at: https://www.instagram.com/_oliverdodd/

https://detund.bandcamp.com/

https://detund.bandcamp.com/album/sigint

The post Speaking in signal, across the divide between video and sound: SIGINT appeared first on CDM Create Digital Music.

All the details on Moog’s new Grandmother semi-modular synth

Delivered... Peter Kirn | Scene | Tue 15 May 2018 5:51 pm

Moog’s Mother line have all had patch cables. Now, the Grandmother adds something else – keys. Oh, and a heck of a lot of colors. We talked to Moog to get the inside scoop on the new Grandmother.

Patch-ability is all the rage these days. There’s the rack modular scene, of course. But then we’re increasingly seeing patch points on desktop synths and keyboards, too. The idea is, you can create different modulation effects and a wider range of sounds by changing the routing of signal through the instrument. And while that’s possible on some electronic instruments using switches or menus or other features, here you just plug a cable from one point to another.

Moog’s own Mother-32 brought that concept to their modern desktop rangorie, followed by its drum synth sibling, the DFAM (Drummer From Another Mother). Now, it’s the Grandmother’s turn. (Any bets on whether they’ll keep going with ‘mother’ names after this?)

The Grandmother moves the patch points out of the big matrix found on the side of the Mother-32 and DFAM, and distributes them across the hardware. That makes it a bit easier to follow where signal flow is – though you’ll also need longer cables.

And you get keys.

Plus this definitely comes in colors, as you may have noticed. The Grandmother plays up the modularity by color coding each section individually. At first glance, it appears as though the Grandmother is a rack of separate modules, but that’s just a visual flourish – it’s an all-in-one design. (If you do want a keyboard that lets you change modules, see products like Waldorf’s kb37, or Arturia’s RackBrute, which attaches to their MiniBrute range, or any number of boutique products.)

Full specs:

• Hardware Spring Reverb can be used to process external sounds
• ¼” External audio input for guitars, drum machines, and more.
• Semi-modular – no patching is required
• Easy to use Arpeggiator and Sequencer
• Store up to 3 sequences with up to 256 notes each
• 2 Analog Oscillators with selectable waveshape and hard sync
• Classic 4-Pole 10Hz-20kHz Ladder filter
• Patchable 1-Pole High Pass filter
• Analog ADSR Envelope Generator
• Analog LFO with audio-rate capabilities
• 32-note Fatar keyboard with velocity
• All normalized connections can be interrupted for full modularity
• DIN MIDI In/Out/Thru and USB MIDI
• Patchable bipolar attenuator
• Works with Mother-32, DFAM, Eurorack modular systems and more
• 41 patch points with 21 inputs, 16 outputs and a Parallel-Wired 4-jack Mult

That makes a really interesting instrument, though I think it’s worth noting that some of the competition comes from Moog itself – the SUB PHATTY has a pretty powerful architecture for roughly the same price, and while it lacks those patch points, still has some flexibility for routing modulation and analog I/O. It also has patch storage.

But I think there’s more to the Grandmother than specs, and the formula runs like this:

A semi-modular design + spring reverb = far out, man

Adrian Younge did this wonderful artist video that demonstrates that:

Sounds:

Grandmother price is US$899 street. (List is US$999.)

We talked to Moog Music about the thinking behind the Grandmother. Here’s what we learned:

Lots of space for patching. Moog emphasize that you can play this instrument even without patching anything if you want. But if you do want to take advantage of the semi-modular side, now there’s room to grow – figuratively and literally. Moog tell us:

In designing a keyboard instrument, we have more panel space than we do in the pure eurorack format (where space is always a consideration), giving us more room for the patch points. The patch point locations also make connecting cables to other devices, like Mother-32, DFAM or Eurorack much more convenient.

Having said that; Grandmother can do extremely complex things, particularly through patching. For seasoned synthesists, all normalizations can be broken and Grandmother can function as a fully modular instrument.

The Grandmother can be a modular gateway. You can patch the Grandmother, DFAM, and Mother-32 in various combinations – or it can be a gateway to Eurorack.

The origins of the Grandmother circuitry. There are some new sounds here – and they give you access to some Moog modulars from the past. Moog tells us: “All three instruments share the same oscillator genealogy, but the rest of Grandmother’s modules are based on classic Moog modular circuits. The Mixer is based on the CP3, the Filter is based on the 904A, the Envelope is based on the 911, the VCA is based on the 902, and the Spring Reverb is based on the 905.”

About those colors. Moog will definitely get your attention with that color coding. It’s obviously partly there for show, partly to make it obvious that the different sections have different functions. And back to the original Minimoog, our modern subtractive synths are essentially all derived from combinations of modules.

There is some history here. Moog points to their Sonic Six, the Concertmate / Realistic MG-1, and the Moog Source as instruments that all carried the Moog name. That’s actually a little surprising – Moog haven’t traditionally focused much on those chapters in their legacy, as they’re not connected with Bob Moog. (Not to be blunt, but that’s like talking to Ford PR and having them compare something to the Edsel.)

To me, the Grandmother really has the most in common with the Sonic Six. It used just one color, but the color overlay was meant to suggest the modular structure beneath.

I’m going to guess this design will inspire some love/hate reactions. But yeah, to be fair, there is some Moog history of “bold color choices,” as Moog tells us, other than, you know, brown.

The keybed. Moog: “It’s a Fatar TP-9 with velocity sensitivity, which is a really great and solid feeling keybed.”

You can gate the keyboard. Moog points out something else of interest:

“One other thing worth mentioning is the ( Envelope / Keyboard Release / Drone ) switch on the VCA. Envelope and Drone may be obvious, but the keyboard release selection is actually very useful. It works like Keyboard Gate on older Moog synths, where a pressed note immediately sets the VCA to maximum sustain level. The difference is when a note is released in this mode, the VCA will follow the release setting of the Envelope. This option opens up a lot of added possibilities while keeping the panel fast and easy to use.”

Built in the USA. Yep, these do get put together in Moog’s factory in North Carolina.

If you’re going to Moogfest this week: I’m not at Moogfest this year, but if you are, you get a special treat. Moog tell us:

For those near Durham, NC this week – Guitar Center will have Grandmother synthesizers available for play and purchase starting 10:00am this Thursday at the Moog Pop Up Factory (free and open to the public), where visitors can also watch as we live build the new instrument on site. Then at 3:00 on Thursday, Moogfest attendees can hear Grandmother used in a long-form Moog drone performance guided by Nick Hook and Gareth Jones of Spiritual Friendship.

https://www.moogmusic.com/products/semi-modular/grandmother

The post All the details on Moog’s new Grandmother semi-modular synth appeared first on CDM Create Digital Music.

All the best new gear and modules from Superbooth, in one place

Delivered... Peter Kirn | Scene | Wed 9 May 2018 12:21 pm

If you love synths, you’ll want a guide to Berlin’s Superbooth. What was still just an actual booth a few years ago has grown into one of the world’s biggest synthesizer showcases. There was so much new, it’s actually hard to keep track. Here’s some assistance.

About the festival: Superbooth, held in a former East German children’s community center in the city’s Köpenick suburb, was more packed in 2018 than ever.

That’s partly a sign of the growth of modular makers. This event calls Berlin home thanks to Schneidersladen (née Schneidersbüro), the boutique synth shop that became a landmark and a beacon to lovers of electronic instruments, particularly as analog circuitry and Eurorack modular synths have seen major growth in the 21st century. Andreas Schneider and his team, and later their ALEX4 distributor and the Superbooth operation itself, have helped champion those instruments.

But like that shop, Superbooth also gathers boutique makers of many stripes, plus big manufacturers like KORG, Elektron, and Roland, each of whom had commanding presences (among others).

The overall feeling is of a place where synth makers and musicians come together, with gear at center stage. (There are panels and performances, too, but they feel a pleasant side show to the workshops and booths.)

This year’s themes: There are still wires everywhere. But “analog” sound sources aren’t the major concern they once were – or, for that matter, classic gear as models (even if Behringer clones were a big buzz). Now, you’ll see plenty of computer-like sequencers in racks, digital oscillators (including FM synthesis), more alternative control interfaces (from touch to gestures to biosensing), and fresh ideas built around digital tech.

Actually, maybe the openness of ideas is a big part of Superbooth’s easy-going atmosphere. Because modules aren’t complete products in themselves, they often seem as much a physical embodiment of an idea as a product. Even with some builders marketing complete “systems,” there was a hunger to connect gear.

But even if you’re not into modular… Here’s the funny thing. Superbooth has managed to become the world’s premiere synth show, not just modular show. Computers were mostly eclipsed, and you didn’t see a lot of guitar- or vocal-focused gear, but every other object that generates sound – from desktop synths to Theremins – was on hand, with some pretty big news.

The List.

Okay, there’s so much stuff – I’m going to make this a really fast log with some in-a-nutshell descriptions.

Things I left out of this list:

1. Stuff introduced earlier / shown before (as at NAMM in the USA, earlier this year)
2. Things I forgot / didn’t see

On #2, please feel free to remind me or make a case for something you found interesting. There’s actually way too much stuff to cover everything, though, so I did intend to pick highlights but …. I’m sure there’s more.

The show-stealers

Erik Norlander (also creator of the Alesis Andromeda) shows us the IK Multimedia UNO he worked on with Soundmachines’ Davide Mancini.

I’ve covered these already, as they made some of the biggest impact at the show (and on general audiences), perhaps with the exception of the Behringer clones (more on that in a bit).

MFB’s Tanzbär-2 was instant drool-worthy stuff, combining analog drum sounds, digital drum sounds with sample loading, and an analog bassline with easy access to sounds and faders. And it’s made in Berlin, so – score one for the home team.

The Polyend/Dreadbox Medusa is a deep synth paired with an expressive grid and extensive live recording and sequencing features. And as with the MFB, pretty much everyone I talked to instantly wanted one, so there’s that.

The $199 IK Multimedia UNO. Combining a powerful analog synth with a sequencer and lots of modulation, all in a battery-powered unit you can play right away at a low price, is an easy win. It’s also the work of a collaboration between soundmachines and IK.

Erica Synths Techno System just does everything you need for percussion and bassline and distortion and mixing thereof, and sounds amazing.

Roland’s SYSTEM-500 modules strike a nice balance between features of the 100m line, the SH-5, and newer ideas. Plus, again, Roland got to stake out the super-cool space-themed part of the building.

Bastl’s modules are noteworthy, even if not the most buzzed-about gear at Superbooth this year, for two reasons: one, I think they’ve got waveshaping interface down with Timber, and two, the 1983 MIDI-to-CV module does clever automatic tuning, for polyphony across modules.

Desktop synths and toys

The Center for Haptic Audio Interaction Research chair.audio. This is perhaps the most exciting innovation shown at Superbooth. Vibration-based sensing and haptic technology produces a control interface that behaves more like an acoustic instrument. It’s the result of a research team based in Weimar, Germany – check their complete site for an explanation, but more on this on CDM soon, for sure. The results are stunning – suggesting a new kind of performance interaction, and a window to the worlds of electronic sound that descends more from acoustic percussion and less from organs and keyboards. Watch – it’s jaw-dropping:

Dave Smith Instruments Prophet X. Dave Smith have gone to the high end with this one – it’s a new flagship Prophet, combining a digital 8-voice stereo digital synth, a new sample-based sound engine, and those signature DSI analog filters and circuitry. Basically, you get a Prophet workstation – part Prophet synth, part sample engine with 150 GB content, and all the extras. And it costs four grand, though this seems like a new generation of workstation keyboard / computer sample engine replacement. (Dave Smith for Hans Zimmer?) DSI have posted a complete product page. It’s sort of a shame Keyboard Magazine (USA) is no longer printed on trees, as obviously this would be on the cover.

Soulsby Atmultitron. This is like the 8-bit workstation to DSI’s high-res one. No gigs of samples or high resolution here – just a keyboard packing all of Paul Soulsby’s brilliant and weird 8-bit creations into a single keyboard with joystick and controls.

Pittsburgh Modular Electronic Sequence Designer. Sequencers were all over the place at Superbooth, but perhaps the most useful was Pittsburgh Modular’s entry – a 4-channel, 32-step sequencer with loads of performance and composition options. It’s a little like having a KOMPLEX Sequencer from KOMA, but in a more manageable form factor.

Twisted Electrons introduced some toys in the best sense. The 8-bit uAcid8 borrows from their bigger acid8 wavetable synth, while the 4-voice hapiNES is “inspired by” the NES game synth. Both have push-button access to some clever features like filter wobble, and both cost just 99EUR. The inspiration of the Teenage Engineering Pocket Operators was left in the open – they even had a couple of those plugged into these, jamming together.

A hardware tool for the Prologue. KORG hinted that they were bringing hardware SDKs to play with that would allow developers to make stuff for their Prologue polysynth. KORG’s Etienne Noreau-Hebert talked to us about it. It’s basically one Prologue voice on a board (with cute lasercut side stands), with audio in and out jacks so you can hear what you’re doing, and exactly the circuitry you’d have on the full keyboard. Writing in C (with limited C++ extensions), you can make your own oscillators and effects, then ship them to the Prologue user base. There’s not much to this other than that, apart from a handful of conveniences like lookup tables, but it still seems like fun. And it’s the first instance I can think of that a hardware platform worked in this way.

Holon bio interface. This was crazy fun to play with. Using an Apple Watch or a custom wristband sensor (or just your iPhone), this interface tracks your pulse as well as movement. The upshot: jog around, and music responds. It’s like having a generative composer following you around, writing music for your workout – so that even when you pause to wait for a light to change at an intersection, the music answers accordingly. They also have a modular interface for this. Awaiting Apple approval. (holon.ist site seems not to be up quite yet, either).

Soundmachines Arches. Touch interfaces were everywhere, but Soundmachines’ Arches was a standout. Not only does it provide touchable strips, but you get light-up feedback, recording and looping, pressure sensitivity and z-axis control, and tons of patchability in addition to MIDI and USB. It’s really a gestural sequencing instrument as well as control interface, with loads of pattern controls for automating as you play. See the full product page for more.

Snazzy FX pedals. If you feel a bit left out of the fun as an instrumentalist looking for pedals, Snazzy has you covered – some brilliant and completely weirdo guitar pedals from the USA, found in the Erica Synths booth.

Modular

u-he Civilization. With lite-brite rainbow colors and just a few pots, the entry of plug-in developer into the modular world was a strange one. This module is a 4×4 matrix mixer – but, with some taps of those pots, it’s also a quantizer and sample & hold module – and all of that is color coded. Basically, a single space lets you command a bunch of connections and modules quickly, making Civilization an interesting choice for saving space.

It’s a bit nuts, but it also shows some of the advantage of multi-functional thinking from software blurring over into hardware.

Humble Audio Quad Operator. Hailing from San Francisco, Humble Audio have delivered a four-operator FM synth in a Eurorack module – complete with a matrix of pots. Everything can be modulated – and you can patch in audio signal. You can choose algorithms, or mix together your own sound shapes. It’s basically everything you’d want from a software FM synth, but in modular form – brlliant stuff, and hope to look at it more.

NERDSEQ is a chip music-style tracker in a module. It’s not new – I saw some pre-modular prototype years ago even at Musikmesse – but each year, its developer takes it further. This year, cartridges containing open source synths, including the full MeeBlip anode with analog filter, were available. So you can plug in an entire synth and use it in the tracker, just as easily as you would play Excitebike. Don’t blow on the synth cartridge, though.

You can plug in a game controller, too.

Hexinverter Mindphaser. Well, this is basically your dream oscillator – an analog “complex oscillator” with phase modulation and waveshaping. And in addition to beautiful controls and patching, it just sounds ridiculously good:

In a way, maybe this is one of the best Superbooth moments. It demonstrates analog circuitry, behaving futuristic – voltages making those computer bits a little jealous. (I may seem like I’m now anthropomorphizing numbers whilst my hypocrisy takes down the very name of my site, but just remember the CDM motto – the ‘d’ stands for whatever you want it to.)

I just wish I hadn’t failed to get on the Eurorack manufacturing craze or the cryptocurrency thing, because now I … can’t afford all that mindphasing. (Or at least, thinking about it is causing some mindphasing.)

Insane Clone Posse

Behringer have gone clone mad – with Roland Corporation circa 1980 (give or take a couple of years) being a particular target.

Roland’s SH-101 synth (1982), VP-330 vocoder (1979), TR-808 (1980), and even two pedals based on the JUNO-60 (1982) were on the show floor, not to mention the announcement that Behringer’s cut-rate Eurorack line will be based on the SYSTEM-100 module line. And no one can argue that Behringer are bringing back products that Roland won’t, since Roland has unveiled the SH-01, VP-03, TR-08 (and TR-8S and TR-8), and JU-06, plus their own SYSTEM-500 Eurorack, respectively. Behringer aren’t just copying Roland from decades past, in other words – their whole brand strategy comes straight out of the 2017-2018 Roland product catalog.

Behringer’s offerings are cheaper, yes. But those aren’t profits going to some rich fat cats: they pay for the marketing and support operations of Roland worldwide, which arguably helps create the market Behringer can then come in and exploit (and certainly which pays for some jobs).

It’s not just Roland. Behringer copied Sequential Circuits (now Dave Smith Instruments) Pro-One, though the prototype on the floor copied the look and feel more effectively than the architecture. There was also the ARP Odyssey, which had recently been re-engineered and re-released by KORG. And Behringer also showed the Neutron, which looks suspiciously in board layout like Moog’s Mother-32 semi-modular.

Nowhere to be seen: the DeepMind, the one synth Behringer created that’s actually new.

On the other hand, maybe what makes this less remarkable at this point is that the 101 and 808 in particularly already have countless clones in software and hardware. Behringer is, perversely, almost trading on their reputation for being the clone maker.

Behringer’s strategy (via parent Music Tribe) and its impact on the industry deserves more investigation. Past clones have landed the company in legal trouble with Roland/BOSS and Mackie. I’m researching that story and will report more separately.

But were there new products from Behringer? Well, no – not unless you’ve been in cryogenic stasis since 1982.

Meanwhile, the oddest reaction to this has to be this, from Synthtopia’s comments:

It justifies Behringer’s hardware clones with a reference to all the human … cloning … going on. Really, human cloning? Wasn’t aware.

Weirdness

Oh, so much weirdness. Want a beer tap in a module, for instance?

Or laughing gas (via Errorinstruments)? (Makes me think about dentists.)

What did we miss?

It’s not possible to cover everything. But let us know if there was anything that particularly excited you – and that was new around this show.

(It was great seeing the Teenage Engineering OP-Z, the Snyderphonics Manta, the Polivoks, the Synthstrom Deluge … but none of those was exactly new, I think!)

The post All the best new gear and modules from Superbooth, in one place appeared first on CDM Create Digital Music.

Polyend’s Medusa is an expressive grid, powerful sequencer, and synth

Delivered... Peter Kirn | Scene | Tue 8 May 2018 12:14 pm

Polish maker Polyend has one special grid – expressive sensing meets powerful sequencing and recording. And now, combined with a dedicated synth made with Dreadbox, it starts to really come alive.

The first impression of Medusa, the new instrument shown last week at Superbooth, is a little bit of a Dreadbox synth tacked into a case with the grid sequencer from Polyend’s SEQ. But that’s really not what you’re getting here. For one thing, Polyend had a hand in the synth portion of this instrument, too, suggesting new architectural features. And for another, because every single parameter on the synth side can be played live and sequenced from the grid, you really get the sense of a complete, integrated instrument.

That’s not to say that SEQ, Polyend’s expansive sequencer product, doesn’t work well at these features, too. In fact, Medusa acts as a nice calling card / advertisement for what SEQ can do. But there’s something about immediately getting sound when you press into a space on the grid that makes a big difference.

And even before you start up the step sequencer, Medusa’s grid is irresistible to play. Each pad responds to x/y/z input, not just pressure. It’s sort of the opposite of the lifeless, on/off digital feeling of the monome – every continuous variation of the finger, every movement around the pad controls the sound. (Apologies to the monome, but that to me is a significant evolution – now that we’re accustomed to the once-radical grid interactions of the monome, we might well expect this kind of expressive dimension.)

Polyend have equipped that grid with a dedicated display, and mapped every parameter from the synth. So you can play live, you can record those performances, or you can increment through steps and play or program detailed changes as steps, then play back and jam.

This is what it’s all about – deep control of parameters, which you can then assign to individual pads and automate step-by-step.

Of course, the other advantage of an integrated instrument is, you don’t have the bandwidth problems of MIDI. The internal architecture is there both for synth and sequencer, so you can modulate everything as fast as you like. (Richard Devine was on hand to turn up the bpm knob really high to test that.)

The Medusa is planned for availability August/September 2018 at 999€.

That’s 999 including VAT and shipping, so figure even a bit less in USD.

And yeah, if you want to know my favorite thing from Superbooth – this is it. It seemed to be a crowd favorite, as well.

Here are the full planned, confirmed specs as provided to CDM – though Polyend hinted there may be more in the works by launch, too. (Dreadbox may have more to say about this, too; I only had time to talk to Polyend!)

Grid/sequencer/controller:
64 customizable three-dimension-expressive pads for a controller/sequencer
Step, live, and incremental sequence modes
256 independent sequences and voice presets
Per-step sequencing of notes, parameter locks, or even entire synth voice presets
Assign X and Y pressure axis to any modulation parameter, per pad
Randomization of voice and sequence
OLED display with customizable user menus

The synth is a nice digital-analog hybrid – 3 + 3, analog + digital wavetable (and comes with its own separate OLED display):

This synth end of Medusa means business, too.

Synth:

Three analog oscillators with sync, four wave types per oscillator
Three wavetable oscillators
24dB Dreadbox analog multimode filter (2- or 4-pole lowpass, highpass)
Play modes: monophonic, paraphonic x 3, paraphonic x 6 (so you can route the digital oscillators through the analog filter, yes)
Frequency modulation for oscillators and filter
Audio input
Noise generator with color shaping

Powerful, assignable envelopes and LFOs let you shape the 3 analog + 3 digital oscillators… and all of this is accessible from the grid/sequencer, too.

Modulation + control:
5 independent LFOs, which you can route into almost anything
5 independent DADSR envelopes with looping and its own parameter assignment
Mixer for all seven analog/digital/noise voices
Separate volume control for headphone and main audio out
USB MIDI in + out and DIN MIDI in + out + thru

Here’s Piotr talking about it in a couple minutes to FACT:

Sound demo, from Bonedo:

http://polyend.com/

https://www.dreadbox-fx.com/

The post Polyend’s Medusa is an expressive grid, powerful sequencer, and synth appeared first on CDM Create Digital Music.

Erica Synths made a modular techno system called Techno System

Delivered... Peter Kirn | Scene | Fri 4 May 2018 12:52 pm

What if you had all the modules you need to make techno and industrial in one rack? Meet Erica’s line of drum and synth modules. They seem to know their market.

Now, it’s meaningful this is coming from Erica. The Latvian-based company with some ex-Soviet Polivoks lineage has a knack for making simply mental boxes that bring that grimy, dirty industrial sound straight out of the actual post-Communist industrial landscape of Riga. If I had to sum up that user experience, it’d run something like this: turn knob, machine screams.

But that’s saying something. Making wild sounds intuitive is a feat. And Erica have earned their reputation by putting those sounds into boxes that are reliable, easy to understand, and deliver a punch without hitting the high end of the cost spectrum.

Running down these modules, you just have to keep nodding – yes, that’s what I want out of this module, and yes, that’s the sensible way to lay out these controls. I can’t really judge sound quality at a trade show, but the sound was good enough that it actually blew me away over the din of Superbooth, out of some small monitors – and that’s saying a lot. We’ll get to check out Erica’s crew at a club tonight here in Berlin, and this is one I think we’ll need to give a full review.

(Bonus: they’re also coming with the effects collaboration they built with Ninja Tune. I’m keen to see that, as well.)

I also think it’s totally reasonable to build systems around musical applications like techno. Plenty of modular instruments have morphed into particular configurations to make them musically accessible. And then since this is still patchable, you don’t have to make this sound like techno you’ve heard before – you can push that flexible sequencer and patch things together to bend something into your own genre and voice. Or, this being modular, you also have now a big line of components that could fill gaps in whatever setup you choose.

Here’s a look at those modules.

Drum

Sample slicing and triggering, WAV file (even imports CUE points), with assignable CV inputs. Actually, there’s nothing to say this has to be a drum module – it’s also a general-purpose sample slicer/module.

microSD for loading sounds.

Dual drive

Well, here’s your distortion. Three dedicated modes for each side, cascaded in series for extreme distortion. This is really the heart and soul of the Erica Techno System sound, and even if you didn’t get the rest of the line here, this one could be a must.

Dual FX

Built on the Spin FV-1 chip – a custom reverb platform – the dual FX has a set of custom mono and stereo effects from Erica’s in-house musician-madman KODEK.

Bassline

It’s all about the bass – and here, those basslines will be more than a little acidic. Erica’s Acidbox proved how crazy their filters can be. It apparently inspired the filter here – so expect really aggressive, terror-inducing acid.

Specs:

Full analogue circuit
Accent
Suboscillator
BBD-based VCO detune emulation
Built in VCF and VCA decay envelope
LP/BP VCF
External VCO FM and VCF cutoff CV inputs

Of course, what keeps this compact is, the sequencing all falls to the dedicated sequencer unit (or a sequencer module of your choice – Superbooth has had a lot of them).

Toms

Toms can easily be a throwaway, but here there was a lot of attention to detail. Toms has dedicated controls for low, mid, and high, and promises 909-inspired tom sounds. Erica says they built this in collaboration with e-licktronic – that’s the boutique/DIY maker who’s perhaps best known for their Roland clones and custom kits.

Hats

Erica are actually introducing three different hat/cymbal models. There’s an analog module (“A”) with accent and individual CV controls of everything, also made with e-licktronic. There’s a digital sample-based “D.” And there are sample-based cymbals (“Cymbals”).

Mixers

It’s easy to overlook this one. But when you’re actually in the heat of the moment playing live, you need that ability to just reach over, twist a knob, and add in a particular part.

And the Drum Mixer looks just about perfect. It boasts vactrol-based compression to keep everything properly loud and intense without losing clarity, plus a stupidly easy setup for controlling compression and the various parts, with seven inputs and both main and aux outs.

Erica also plan a more compact 6-input “Lite” version of the same, and a 4-channel Stereo Mixer.

Oh yeah, and if you’re not into the black craze, they plan to release everything again in white.

Lastly, the sequencing here comes from the Erica Drum Sequencer. Announced in January, it debuted in March – but now it has some modules to sequence:

Features of that are numerous:
12x Accent outputs

1x CV/GATE track
2xLFO with independent or synced to the BPM frequency
Time signature per track
Pattern length per track
Shuffle per track
Probability per step
Retrigger per step
Instant pattern switching
Solo/Mute tracks
Step/Tap record modes
16 Banks of 16 Patterns
Instant pattern switching
Pattern linking
Midi sync in with start/stop
Track mode
Firmware upgrade via MIDI SySex

More:
http://www.ericasynths.lv/en/home/

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MFB have a killer live drum machine + synth in the hybrid Tanzbär-2

Delivered... Peter Kirn | Scene | Fri 4 May 2018 12:07 pm

It’s an analog drum machine plus bassline synth. It’s a digital drum machine with sample loading. It’s packed with live features and modulation. The coming MFB box could be … The One.

While big brands have focused on digital machines (or even software/hardware combos), MFB out of Berlin are the little boutique brand who have come out with a steady stream of analog boxes that are nonetheless compact and accessibly priced. And it’s not so much the fact that they have analog circuitry inside them as the fact that they’re different. Those drum timbres will hammer through your music when called upon, just like the Roland classics and whatnot, but they also sound distinctive. And with so much music already made on the well-known machines, different is good.

That said, for all the lovely sounds packed into any of these boxes, they all fell a little short of “must-have” – great-sounding but a bit fiddly and more focused on sound than performance features and sequencing. Then there was the confusing availability of two similar compact boxes, the Tanzmaus and Tanzbär Lite, alongside the Tanzbär flagship which was also … a bit similar to the other two.

Well, forget all that: because even in prototype form, the Tanzbär-2 is a whole new beast. If Roland’s TR-8S and Elektron Digitakt look poised to be the live drum machines for the mainstream, then the MFB might be the best boutique rival.

Or to put it another way – plug this thing in, and you can jam like a crazy person, with bassline and drums all ready to go.

Highlights (there’s no press release so … I’m doing this from memory):

A built-in bass synth that sounds totally brilliant, with internal melodic programming
Analog drum parts, plus digital drum parts (hey, it worked for the 909)
Sample loading, via MIDI dump or over USB, so you can load your own samples
Tons of front panel parameters for hands-on control of both the analog and digital sections’ parts
Dedicated faders for all the parts’ volumes
Two additional parameters for each part (accessed by the screen)
An LFO you can route to absolutely anything
Step sequencer, with per-step parameter automation
Separate outs for each part

And it’s really compact, too – not exactly lightweight (though that’s okay when you’re jamming hard on it), but easily slipped into a bag with a small footprint.

Really the only missing feature is, there aren’t internal effects … but that would complicate the design, and it does have separate outs.

The TB2 is really three instruments in one. There’s a simple analog bassline synth. The analog percussion section houses kicks, toms, congas, and snares. And then a digital section handles hats and additional percussion – or load your own digital samples for more choices. Sounds about perfect.

Faders! Dedicated outs! And it’s all really compact. Those knobs feel great, too, if you had a more fiddly experience with older MFB gear.

There are already a lot of parameters on the front panel, but parts also have additional parameters accessed by the two data knobs, with feedback on this display. (You’ll see some hints as to those features on the silkscreen, too.)

I’m sold. I think the fact that it includes a bassline synth internally is already great. I’ve got lots of questions, but they’re working on finishing this up this summer, so it’ll be better to make a separate trip to MFB after Superbooth. Then we can get some real sound samples without a convention going on behind us, and learn more about the details.

Cost isn’t confirmed, but they’re planning for under a grand (USD/EUR). Given you could pretty much do all your live dance sets on this box alone, that sounds good.

But wait — there’s more! MFB also new modules coming, too. Here’s a sneak peak of that:

More on this soon.

http://mfberlin.de/

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Roland’s new SYSTEM-500 modules, and why you might want them

Delivered... Peter Kirn | Scene | Thu 3 May 2018 11:06 am

There’s East Coast (Moog), there’s West Coast (Buchla) … and then there’s much further East. Roland’s SYSTEM-500 descends from the Japanese modular tradition. Now we have the details of their latest Eurorack renditions.

The SYSTEM-500 continues the collaboration between Roland and Portland, Oregon-based boutique maker Malekko Heavy Industry. CDM broke the story (at least in English) when the SYSTEM-500 made a cameo at an event in Berlin.

The other important thing to know is that Roland has taken some of the inspiration for the design of these modules from its early 80s SYSTEM-100M (which in turn drew from the 70s SYSTEM-100). They’re not reissues and they’re not copies – but they do take some sonic features and the interface approach from those modules. With much of the boutique community drawing from Buchla and Moog, this means Roland is a little different. At the same time, since they aren’t slavish recreations (except giving you the SH-5 filter, for instance), you get a slightly more up-to-date take on what these things are about and who they’re for.

Hey, Roland, you could also do a MIDI interface and call it the MPU.

SYS-510

Cost: US$399.99 street

The pitch: A place to get started

What it is: It’s an all-in-one synth module – basically three modules in one to get you started with a single voice. You get an oscillator, a filter, and an amplitude envelope. The idea is to give you a single module that gets your modular started. You could actually bolt this into a rack and get started – it takes inputs and outputs line output so you could hear what you’re doing. And while there are competing modules that do the same, this one is pretty economical, and it comes from Roland’s own heritage – it’s modeled on the early 1980s 100m Roland synth, which also had the goal of being a starter synth.

SYS-555 LAG/S&H

Cost: US$349.99

The pitch: A modulation source

What it is: It’s modulation in a box. Think ring modulation, waveforms, an LFO, noise, and portamento you can route into your other modules. This one is also 100m-based.

SYS-531 MIX

Cost: US$399.99

The pitch: A mixer in a module

What it is: The 531 also draws from the 100m history, but the important thing is really that it’s more of a conventional mixer in modular form. Now, part of the appeal of Eurorack is frankly that it is esoteric – but musicians at some point may expect mixers to behave more like mixers. So while you do get some voltage control (for panning), the appeal to me of the 531 is that it has, like, mixer faders and pan pots you can easily reach out and grab. There are even LED meters so you can see what you’re doing.

Oh, and you can plug line and mic level inputs here, too, so you can combine instruments and voice easily. Roland promises “boutique-quality,” “high-fidelity,” “low-noise” circuitry on this unit, which I take to mean it doesn’t suck. And the mic pre can be pushed into “pleasing overdrive.”

SYS-505 VCF

Cost: US$349.99

The pitch: The signature Roland filter from the SH-5

The SH-5 is a Chinese maritime patrol amphibious aircraft — wait. Sorry, wrong link. The Roland SH-5 was the 1976 classic of roughly the same generation as the SYSTEM-100 modules. Just as Moog made the Minimoog as an all-in-one keyboard monosynth with features of its modular system, so Roland made the SH-5 as its ready-to-play keyboard. And the SH-5 might be a household name with casual synth enthusiasts today, had Roland not eclipsed their own legacy with better-known 80s offerings like the SH-101 and TB-303.

But here’s the important bit: while a lot of modules have filter circuitry modeled on a Moog ladder filter or other well-known filter designs, the SH-5 has its own sound. It’s part multi-mode filter, part bandpass filter … which is to say, it really growls.

Growl how? Like this:

The 505 has no particularly fancy features. It’s just a straightforward, great-sounding filter. But it could be either the complement to the offerings above, or – for people who already have invested heavily in modular – it might be the one module you grab out of this lineup, just to add a bit of Roland sound to your rack. Just get ready to shove a fader up and down instead of twist a knob, because Roland likes vertical faders.

And we close with this image, which demonstrates that… uh… maybe the photo department needs to buy some shorter cables. (Looks impressive, though. Also, for some reason I either want a big bowl of ramen or a bag of Red Vines – or both.)

More:
https://www.superbooth.com/en/roland.html

SYSTEM-500

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The $199 UNO is an analog synth from IK and some great minds

Delivered... Peter Kirn | Scene | Wed 2 May 2018 12:49 pm

It’s portable, battery-powered, and a capable analog monosynth with a sequencer, at a low price. But it’s also worth noting IK Multimedia’s new US$199 UNO involves collaboration with some unique people.

Before the modular craze, before KORG’s volcas, before even the Minimoog Voyager, it was the Alesis Andromeda in 2000 that arguably signaled a return to analog circuitry and hands-on control for the electronic musician consumer. And that instrument was the work of synth designer Erik Norlander, who’s now the resident “synth guru” at IK Multimedia, and who IK says is the brain behind the UNO. IK have also collaborated with Italian boutique maker Soundmachines, who themselves have a bunch of wacky and wonderful ideas.

So put all of this together, and the UNO is something new – a familiar architecture, but not a clone of something you’ve heard before. It’s also an inexpensive instrument that involves collaboration with boutique makers (as Roland have done with Malekko and Studio Electronics) – rather than just undercutting those makers at low prices. And it’s made in Italy, proving that Europe can still make this sort of product.

Plus, it looks like a really fun bass synth with a built-in sequencer. Specs:

  • Analog audio path with two analog oscillators, noise generator, resonant multimode filter and analog amplitude
  • Saw, triangle, and pulse waveforms (with continuously variable shape and pulse width modulation), separate white noise generator
  • That filter isn’t the Moog ladder filter – it’s a smoother, Roland-style OTA filter, which you know from instruments like the Jupiter-8
  • Filter can be set to lowpass, highpass, bandpass, and has overdrive
  • 7 separate waveforms for modulation: sine, triangle, square, up and down saws, random, and sample and hold
  • Built-in delay
  • Instant modulation effects: Dive, Scoop, Vibrato, Wah and Tremolo

For arpeggiator/sequencing:

  • 100 presets, 80 user presets, each with an associated sequence and arpeggio (I think you can then store your own presets and patterns, making this ideal for live performance)
  • Arpeggiator with ten modes
  • 100-pattern sequencer, which you can program in real-time or step-by-step
  • Parameter locks! Set per-step modulation

And finally, I/O:

  • MIDI in/out
  • USB MIDI
  • Runs on 4 AAs or USB power

There’s also a Mac/PC software editor. (Helps to be a software company, too, as IK is.)

Sounds (though I do believe you need to go beyond just manufacturer demos):

Now, there are some questions I definitely want to answer when I get this hands-on. Analog synths with battery power — well, let’s hear if it’s noisy or not.

Multi-touch keyboard — that’s touch-based, so while they promise two octaves of sound, I want to see how precise it feels. Ditto those touch controls. You also get some pre-defined scales, which should help you … like, hit actual notes.

But this architecture looks great. That extensive modulation is already promising, and then the ability to set per-step modulation with the sequencer looks powerful, indeed. And it’s just 400 grams (under a pound).

US$/€199.99; shipping scheduled for July 2018.

http://www.ikmultimedia.com/products/unosynth/

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The amazing touch-controlled synth made in secret in 1978 China

Delivered... Peter Kirn | Scene | Fri 20 Apr 2018 4:18 pm

At the tail end of China’s Cultural Revolution, one inventor secretly created a futuristic take on traditional instruments – and it easily still inspires today.

I don’t know much about this instrument, but given CDM’s readership, I expect our collective knowledge should say something (not to mention some of you speak the language). But according to the video, it’s the work of Tian Jin Qin, a ribbon-controlled analog synthesizer first prototyped in 1978 and featured here in a documentary movie entitled “Dian Zi Qin / 电子琴” (1980).

There’s some irony to the fact that a simple touch instrument was something driven underground in China just one generation ago. Now, of course, China leads the world in manufacturing touch interfaces, has been the center of a global revolution in touch-powered smartphones (based loosely on the same principle, even), and even drives a significant portion of today’s technological innovation.

But… even without getting into that, this design is freaking great. It’ll make you immediately wonder why a single ribbon design is so popular, when the ability to finger multiple ribbons, fretless style, both relates to traditional instrument designs and allows more sophisticated melodic playing and expression.

Like… you’ll watch this video and want to go build one right now.

The synth is essentially two connected designs. An main synth console features organ-like push-button timbre controls and rotaries, plus four touch plates that respond both to being depressed and to continuous control vertically along the surface. (That arrangement, in turn, closely resembles the ROLI Seaboard keys, as well as having some lineage to the Buchla modular’s touch plates. In fact, a couple elements of the design suggest that the creator may have seen something like the Buchla 112 keyboard.)

The Chinese twist, though, is really the upright, fretless touch interface. This instrument is as subtle and sophisticated as Keith Emerson’s ribbon controller for the Moog wasn’t. Zithers are among the most ancient of instruments across a range of cultures, as antecedents what we’d now consider both southeast Asian and European musics. Someone following the narration here or with background in Chinese instruments (which I largely lack) could say more, but it seems inspired by instruments like the guqin. That family of instrument can be plucked or fingered with glissandi (or played with a slide). The electronic rendition here simplifies a bit by using 4 metal strips whereas Chinese classical instruments can feature more strings.

So I will indeed put this out to CDM readers. Anyone out there who’s done research on this creator or knows about this instrument?

Anyone built something like this?

(Apologies, I’d normally do the research first and then write but … as Ted Pallas who tipped me off to this promised, I indeed wanted to share it right away.)

For all the turbulence of our modern time, one thing I believe can keep us out of a Dark Ages is the fact that we are more connected globally than ever, or at least potentially so. From the walls around China and the east to the former Iron Curtain, we’re discovering that a lot of the people kept unknown to those of us in the West were pretty ingenious. And maybe we get a second chance to learn from them and share.

The post The amazing touch-controlled synth made in secret in 1978 China appeared first on CDM Create Digital Music.

This hidden gem adds a sub bass to anything, because you want that

Delivered... Peter Kirn | Scene | Mon 16 Apr 2018 10:48 pm

Serendipitous collaboration can be magical. Combine an eccentric high-tech guitar company from Switzerland with some high-powered nerds from the USA, and you get some spectacular ways of adding sub octaves and picking apart and modulating sounds.

From Memphis to Messe: on a hot tip from one of the engineers, I found myself roaming Hall 8.0 at Musikmesse in Frankfurt Friday. Just this one hall is already cavernous; I passed a portrait of Hillary Hahn in a violin booth, stumbled across two nice women giving away CDs of unsigned Estonian concert music, and strolled past the signature-blue of the G. Henle Urtext (which my piano teacher called the “Voice of God edition.”).

But this is how music instrument design should work. It should be collaborative; it should have unexpected combinations of new and old. I love Berlin’s SuperBooth, but by no means would I ever imagine modular synths to exist at the center of the music world.

And so I found myself in the narrow booth of Paradis Products. They’re a legendary, boutique guitar maker out of a Swiss small town, producing exotic creations that look like what you’d splurge on if you’d just won a Eurovision contest. But they know their stuff, from electrical engineering to woodworking.

The woodworking side of the equation is who I got on Friday afternoon, so apologies to Heinz for I think terrorizing him. (I kept repeating the word “Eurorack” to his utter befuddlement. I unfortunately have less to say about mechanical engineering and wood. Matthias Grob is the engineer who’s more to the electrical side. )

Paradis make wonderful guitars, but they also make leading guitar technology. The Polybass is an instrument that seems enchanted – as bass notes follow every articulation. It’s analog technology which means there’s nothing stopping it from appearing outside guitars.

Side by side comparisons of the original and the new Polybass board – the latter coming soon to a Eurorack near you.

So here’s the plan: take the Polybass, and make, hopefully, a Eurorack modular by the end of the year. That’s where America’s Delta Sound Labs comes in. They explain to CDM: “Polybass by Paradis is a radical rework of the legendary Polysubbass that provides an audibly clear, sub-octave effect below performed notes.”

On the guitar, I could already hear how it sounds – that is to say, incredible. I can’t wait to hear this applied to other things.

And there’s more. The CHOPhilter is a classic attack detection and modulation VST. It’s got a UI that’s ugly as sin, but Paradis, Mathons, and Delta Sound Labs will work together to port it to 64-bit (done) and add a more aesthetically pleasing Delta skin (coming soon).

This is also a very Good Thing: apply amplitude modulation on note attacks, with amplitude and filter modulation effects and envelope controls. It also responds to MIDI input for more live performance options. (A quick play-around revealed some crazy possibilities – look past the UI at those parameters for a sense of what this can do.)

Memphis-based Delta Sound Labs, for their part, have done sound research and technology from gaming to film to music industries. And they do modules. And they’re musicians. Here’s Ricky playing around with their other project – a pitch follower that interfaces both with Ableton Live and via control voltage with other gear:

CTRL Module + Helmholtz Pitch Follower – Initial Tests

Stay tuned. We’ll be watching for these finished products.

http://www.paradis-guitars.com/

https://www.deltasoundlabs.com/

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Behringer promises $49-99 Eurorack, but gets its ideas from Roland and forums

Delivered... Peter Kirn | Scene | Mon 16 Apr 2018 5:43 pm

Uli Behringer is apparently just getting started trolling the industry, promising US$49-99 Eurorack. But so far, that announcement involves renderings of Roland gear and a plea for user forums to tell them what to do.

That’s right: even as people are buzzing about Behringer, all we’ve got are some shady renders, and a forum post. The designs are straight from decades-old Roland gear. There’s not even the work to engineer them. And the rest is talk.

Heck, I could do this. CDM is proud to bring you $19 Eurorack modules. Of what? Don’t know. You tell us. When? Someday. How will they work? Oh, they might use an old design. Or you might design them. Don’t know – again, that’s up to you!

Let’s be clear: promising Eurorack modules for under a hundred bucks ought to be a popular idea. But then it’s easy to promise something. And it’s perhaps worth pointing out, if you don’t mind doing some soldering yourself – or even prefer that – you can assemble a budget modular system. Or, heck, you can run VCV Rack and even buy some top-quality modules for it for $100, all in. But that’s unlikely to stop random people on forums and news comments, who will embrace the idea that Behringer alone could do modular on a budget.

Nor are these new designs. Behringer describes them as related to the “legacy 100m” modules. Uh… that “legacy” would be Roland’s. And as with other Behringer forum posts targeting Roland, there seems to be no original idea other than copying what Roland has done. The timing is suspicious, as well. Uli took to the forums Saturday. CDM readers will know that we shared the news (along with some German press also in attendance) that Roland was reviving its 100M line with new SYSTEM-500 modules, showing them here in Berlin on Thursday. And of course, that’s an extension of a line that already existed.

New Roland SYSTEM-500 analog Eurorack modules spotted in the wild

Clones seem to be the order of the day, as Behringer promises to “bring back” more “legacy” hardware. In fact, Behringer are so hard up for ideas of what to actually do, they’re going beyond just posting quick what-if renders of Roland modules, or continuing this trend of posting teasers as a series of questions. (“What do you want to see? What should we charge? What color should this be? What do you want for lunch?”) Behringer are now posting to message forums asking for people to submit ideas:

You present is with your design (you need to have at least a working prototype) and perhaps show us a video etc. so we can understand your concept.

Provided you are OK with it, we could then post the video here and if there is enough interest, we would consider manufacturing and distributing the product for you. In return we would allow you to get a percentage of the revenue.

At the same time we would be featuring you and your designs so you get the well deserved exposure.

Here’s the thing: there’s already a community of engineers making hardware. Roland are certainly not above criticism, but to the credit of the Japanese giant, when they entered the market they partnered directly with an existing vendor. (On the modular side, they worked with Malekko Heavy Industry. The Roland Boutique Series SE-02 was made with Studio Electronics.) Buchla are working with original engineers, and many of the Buchla-inspired designs are made by people with years of experience doing Buchla repair. Moog are returning not just to original designs but original parts. I could go on …

And that’s to say nothing of vendors from MakeNoise to Mutable Instruments doing original designs. That originality translates into sound.

Behringer’s trolling is way ahead of their actual products. The Minimoog clone Behringer-D is accurate – and accurately reproduces the tuning instability of the original’s analog oscillators. The Behringer DeepMind is actually a pretty decent synth, but it’s also got competition in the same price range – some of it with fresher ideas – and Behringer’s endless forum posts about speculative products and clones ironically distract from the accomplishments on their one genuinely original synth.

I think the Eurorack manufacturing community is headed into some tougher times, especially as a glut of used products catches up faster than the market can grow. And price pressure will surely become a reality.

But what’s most stunning of all is that Behringer is disrupting the industry and attracting attention without actually making anything. This may give them additional attention, but somebody ought to same something.

Behringer Eurorack Modular [GearSlutz]

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New Roland SYSTEM-500 analog Eurorack modules spotted in the wild

Delivered... Peter Kirn | Scene | Thu 12 Apr 2018 11:39 pm

Roland hasn’t made any announcement about new modular – but it seems a handful of SYSTEM-500 analog modules have just made an appearance in the wild, rounding out an existing range. We’ve got some “spy” shots.

Yes, it seems unannounced Eurorack products from the Japanese maker found their way into a shoe event. These modules will extend Roland’s existing range of SYSTEM-500 modules, made in collaboration with boutique Eurorack manufacturer Malekko Heavy Industry Corporation. Like the other AIRA offerings, Roland is looking to their own past: the SYSTEM-500 line is inspired by the SYSTEM-100M made in the early 80s.

But what’s significant about the SYSTEM-500 is that Roland are working with a smaller maker. And lest you confuse these with the 303, 808, 909 remakes and the like, these are analog, as was the original source material.

All of that’s interesting, even in the crowded Eurorack landscape, because it isn’t just following the mold of the Moog or Buchla modulars. So you might add SYSTEM-500 to your rack to get a distinctive Roland modular sound.

Okay, so how do we know these are new? Well, first, here’s the range of Roland SYSTEM-500 that was available previously:

512 Dual VCO
521 Dual VCF
540 Dual Envelope Generator and LFO
530 Dual VCA
572 Phase Shifter, Delay and LFO

Malekko actually have the best overview:
https://malekkoheavyindustry.com/system-500/

Now, here’s what was spotted in Berlin:

505 Dual VCF
555 LAG / S&H
531 Mix
510 Synth

That mixer looks really useful, alone – mute switches, actual faders, actual panning. Not everything there can be CV-automated, but to me that misses the point: it’s useful to have hands-on mixing when you’re playing.

And then the LAG/S&H gives you a whole bunch in one module – and the Synth looks like it could be a starting point for an entry-level modular rig.

A quick play says these can sound really nice. I expect we’ll know more at Superbooth in Berlin next month. (Roland aren’t showing this at Musikmesse.)

Some poor pictures from me to give you a taste – let us know questions and I suspect we can get answers when these launch:

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Balalaikas to synths, the Russians at Musikmesse cover the gamut

Delivered... Peter Kirn | Scene | Wed 11 Apr 2018 6:03 pm

Some of it, you’d expect: accordions, balalaikas. Some of it, you’d crave: post-Soviet electronic sounds. And some of it would surprise you: ready to play some pineapples? Meet the Russian makers at Musikmesse.

There’s now growing bi-directional interest and involvement between Europe and the Russian Federation. For all that may be happening elsewhere in trade, geopolitics, and social media, when it comes to musicians, inventors, and makers, now feels like a renaissance in exchanges between Russia and Europe.

At least in music, the thing is, there are a range of instruments, traditional and electronic, that no one else makes quite like this – partly because of the history of the country and how that’s extending to new instrumental creations.

Superbooth in Berlin is becoming the go-to European show for synths and electronic music, but Musikmesse in Frankfurt, like NAMM in the USA, focuses across new music technology and traditional instruments. And those traditional instruments remain big business. What’s interesting looking at the Russian selections is how you get a range of instrumental possibilities.

Hosted by the Russian government’s Ministry of Industry and Trade of Russia, some eight different manufacturers will show their wares. Yes, I think we’re probably not wrong when we assume these folks deal more with heavy industry and energy than they do, uh, weird stompboxes. But for once, we get the full mix. Have a look:

For accordion lovers, there’s Tula Harmonica and Voronezh musical instrument factory AKKO:
http://www.harmonica-tula.ru/
http://www.bayanakko.ru/

(Anyone who’s ever been to Musikmesse understands that, at this show, accordions are a big deal.)

Balalaikas may be the stereotyped image people imagine when thinking of Russia, but – you’re not wrong. And some of the new instruments are simply beautiful to look at, in new designs that nonetheless withstand the demands of traditional music. Balalaiker is making both balalaika and other folks instruments. They even come in black, in case you want to work these into your techno rig.

http://www.balalaiker.ru/

In percussion, there’s both a Moscow drum shop (Tsimbals), plus a Russian xylophone and bell maker (Forte).

https://musimport.ru/
http://www.forteltd.ru/

Lutner SPb exemplifies the kinds of businesses that cropped up in the 90s, post-USSR – a business founded in 1998 in St. Petersburg that has grown to regional and then national business in selling instruments. But they’re not just importing known brands from Europe, Asia, and elsewhere – they’ve also got some local brands to show, including vargans and plucked stringed instruments.

Of course, apart from folk music, Russia has long been known as a classical powerhouse. So serving those musicians (with the likes of Valentine Uryupin, Igor Butman, and others), you get wind instrument maker Atelier Goncharov.

But let’s get to electronics, before you think this CDM became Create Russian Folk Music.

In tech, the appeal of Russia is clear: it offers the rest of us the often peculiar noises of Soviet-era electronics with new innovations and engineering.

Oktava, founded in Tula in 1927 (that’s an industrial center south of Moscow), is hoping to find a wider audience for products like their studio mics. You can read about some of their history, but – imagine a Russian answer to names like AKG or Neumann or Sennheiser, but sort of rolled into one. Oktava’s studio mics are legendary. (I haven’t gotten to use any; I’m rather curious.)

I … think some CDM reader should pitch them on fixing their ancient Website, but you can take my word for it that they make respected professional headphones and microphones, along with a lot of other audio products that are less related (telephony, other audio products, hearing aids).

And yes, these are the same people with a history outfitting the Russian (and Soviet) military:

Plus vintage mics like this:

Just now, they’re making some beautiful tube, condenser, and dynamic mics for studio applications building on that history – with more modern production techniques. Good luck with their Website, but I do hear good things about the products. They’ve got their pro mics on show at Musikmesse:

http://www.oktavatula.ru/

Modular maker SSSR Labs was the darling audience choice winner of Synthposium last year, and they’ve got a range of affordable, compelling Eurorack modules and module kits.

In addition to their own creations, SSSR serve as a clearinghouse for other unique modules and kits made in Russia.

And they’ve got an interesting deal if you already own one of their modules: “If you already own Kotelnikov or Matrixarchate eurorack modules, take them with you to get a FREE upgrade to the latest firmware version with audio bootloader! Valid for all units: retail and DIY builds.” (No new modules at Musikmesse, but that firmware – and 50% Russian production – is new.)

https://www.sssrlabs.com/

Our friends from Playtronica are also in town. In addition to unique performances and installations, they’ve been hard at work developing kits that will open up these same techniques to others – think Makey Makey for music. So their inventions Playtron and Touch Me use capacitance to turn anything – any object, any human touch – into musical interface. Other sensors cover physical interactions and motion.

Sasha Pas from the group sends CDM a spy shot, and it looks like they’re … busy with pineapples.

You can also catch the wonderful Jekka live tomorrow.

http://playtronica.com/toolkit/

Yerasov is making a whole bunch of stuff, including amps and combos and tube heads and accessories. But what may most interest readers of CDM is their growing range of compact, interconnecting audio gear.

There’s some really unique stuff, like a parametric EQ for bass, an impulse response-based cabinet simulator, and this tap delay, plus a whole mess of effects. Color me interested.

You’ll find loads of goodies on their site (also in English):

http://yerasov.com/

Also in the group: cable and connector maker Shnoor (look out, Hosa and Neutrik?).

Plus there’s a company called AMT, which is also doing loads of digital-based effects and amp simulations. (At last year’s Messe, I noticed loads of this stuff — as ARM chips proliferate in mobile devices, phones, and tablets, it seems digital chips are also powering lots of cheap new guitar effects.)

AMT comes from Siberia, it seems (with the “Siberian Guitar Gear / Built to Last” presumably making us imagine sturdy-looking people in layers of fur surviving harsh winters). And they’ve got some interesting ideas, like a 4-channel WAV player for backing tracks you can control via MIDI or footswitch, called (hilariously) the EgoGig:

http://amtelectronics.com/new/amt-egogig-eg-4/

They’ve also got some useful-looking DI boxes and load boxes and re-amp stuff:

https://www.myshnoor.com/

There you go – eight Russian makers you may or may not have heard of.

I’ll be partnering again this year with Synthposium in Moscow to bring you more.

If you’re at Musikmesse, you can visit the Russian exposition at hall 8 booth F66 (acoustic instruments) and in hall 4.1 booth E61 (for the electricity-powered stuff).

And I’m certainly interested in other countries’ wares, as our world of music technology becomes ever more decentralized and international. (What I will say about Russia: I notice that a lot of conversations around me even in Berlin slip to Russian as lingua franca, even without exclusively Russian people around. There’s a renaissance of invention all over what had been the former Soviet sphere, and its history, in music and culture, spans back far earlier than the 20th century.)

Now I wish I hadn’t made this so long, so someone could translate it into Russian. Oops.

Oh yeah, and you might want to free up September to come to Moscow. If you’re a nerd. And if you’ve made it this far in the article – actually, you definitely are, and you definitely should.

http://synthposium.ru/

See you in Moscow and Berlin.

The post Balalaikas to synths, the Russians at Musikmesse cover the gamut appeared first on CDM Create Digital Music.

Ninja Tune are doing their own multi-delay, and it looks wild

Delivered... Peter Kirn | Labels,Scene | Tue 10 Apr 2018 12:39 pm

Hey, if running a label to release music seems a daft idea these days, there’s always selling hardware. And Ninja Tune’s new hardware effect looks like it’s got some serious potential.

Gear guru and underground weirdo music impresario Ingmar Koch and his Liquid Sky Berlin / gearporn.berlin blog get the scoop here. But already from the hardware we can tell a few things:

  • The hardware sure looks like Erica Synths’ stuff. (Casing and knobs are a dead ringer for the Acidbox. So whether or not they did the engineering, they may have done the manufacturing and enclosure.
  • It seems to have a big tube. (See also Erica’s love for Polivoks-era, ex-USSR tubes and recreations.)
  • There are multiple delay modes: Stereo Delay, Tape Delay, Ping Pong Delay, and BBD Delay (Bucket Brigade – think classic chip delays)
  • Feedback, delay time, and tap tempo
  • A multimode analog filter (lowpass, bandpass, highpass) with overdrive knob
  • MIDI IN, which suggests you also get MIDI sync (good!)
  • CV in for analog control (and one control I’m unsure of, maybe pulse in – who has better eyesight than I do?)

So, it’s apparently some retro-style chip delay with analog filter and … tube for overdrive? That could get nicely nasty.

Plus if Erica was working on this, having tried their Acidbox line, expect all the right kind of mayhem.

I’ll be eager to get hands on this. The involvement of Ninja Tune suggests our friend Matt Black of Coldcut had some input with this, and he does love his tech.

More – photos of the prototype:

pure gearporn: ninja tune zendelay – hardware news leak [gearporn.berlin]

The post Ninja Tune are doing their own multi-delay, and it looks wild appeared first on CDM Create Digital Music.

At Superbooth, expect new synth news, and grand instrumentalism

Delivered... Peter Kirn | Events,Scene | Wed 28 Mar 2018 5:07 pm

From a crowded stand in Frankfurt to a sprawling show in East Berlin, Superbooth has become a modular mecca and the premiere synthesizer summit on the world calendar.

And if you think about it, that’s pretty astonishing. NAMM (National Association of Music Merchants) in California remains the destination for the musical instrument industry at large, and it and a number of other events draw big crowds of synth lovers. But Superbooth has become a kind of extension of synthesizer inventor history, of modular subculture, and of the best parts of the Internet today – the bits that just nerd out about cool toys. One- and two-person shops stand literally shoulder to shoulder with major manufacturers.

In short, it’s the triumph of the weird.

“Normal” trade shows these days are what can seem anachronistic. The “trade-only” moniker at NAMM (or Germany’s Musikmesse) has always been confusing, with tire kickers tangled with industry, and a collision of instrumental segments that seem increasingly distant from one another.

Like the quiet, sprawling metropolis of Berlin itself, Superbooth never feels crowded. People amble and linger and chat and chill – all the verbs you never associate with trade shows. But it doesn’t feel like a local synth meet, either. There are 250 exhibitors this year, with stands from names like Ableton, Akai, Avid, Bitwig, Elektron, Eventide, IK Multimedia, KORG, Mackie, Magix, Moog, MOTU, Native Instruments, Nord, Novation, Propellerhead, RME, Roland, ROLI, Softube, Steinberg, Studio Electronics, Waldorf, and … yes, even mighty Yamaha.

Those join a who’s who of modular makers, with an increasing number of American brands alongside what appear to be all the major European names (including Russia).

So, it’s significant that the morning hours are dedicated to trade and professionals, while the afternoons open to the public. “Will you be at Superbooth?” has become the stock question for the synth and electronic end of the waters. And since this is not just a corner of a show with drums and guitars and trombones, you do actually talk to one another and connect.

So what will actually happen this year?

Last year saw a raft of cool stuff:

Go gear crazy with the best synth gear unveiled at Superbooth

Novation hit it out of the park with both Peak and Circuit Mono Station. Bastl Instruments fed us THYME, DUDE, Kong … and their own line of custom-brewed coffee. Behringer had their infamous Minimooog Model D clone to try. Elektron revealed the Digitakt, as Jomox and MFB unveiled boutique drum machines. And of course there were loads of new modules and other toys … not to mention Yamaha with a robot that plays keys.

Last year, this happened – two new Novation synths.

(Compare the inaugural 2016, when Superbooth was more limited to niche modular and analog creations, and many brands still made waves at Frankfurt Messe. By last year, Messe was mostly silence.)

This year, I think you can expect even more big announcements. Given the attention Novation got, I wouldn’t be surprised if a big manufacturer made a splash – even from Japan’s big three, all of whom are in attendance.

Of course, the charm of Superbooth is, those big manufacturers won’t really have any particular advantage over tiny shops. (Well, apart from if you have deeper pockets, you get the cool room with the Soyuz module …)

And I think you can expect … oh, wait, I can’t tell you. I don’t know anything. Expect nothing.

(Oh, one note – I think we’ll continue to see a cottage industry in 5U modules – that’s the larger format – especially as Moog’s own recreation of its vintage modulars is out of reach of most budgets.)

Superbooth 2016 videos

https://vimeo.com/schneidersbuero

On the music side…

As Superbooth gets deeper in the gear territory – not just for modular geeks, but synths fans in general – it’s also building out its roster of musicians. Those reflect some of the Berlin in-crowd’s refined tastes, but this year they also suggest another line.

Superbooth wants you to think of synths and modular as an instrument, in the classic sense of the word.

So you get Caterina Barbieri, a classical guitarist-turned-modular artist, and Leon Michener on a prepared grand piano. There’s Berlin electronic legend Bernd Kistenmacher on synths, and composer Udo Hanten on 5U modulars.

Stephan Schmitt, founder of Native Instruments and father of Generator/Reaktor, will play on his own unique C 15 keyboard, made by his new hardware venture Nonlinear Labs. Carolina Eyck will play Theremin; famed producer Tobi Neumann will play ambient with Fadi.

The night program is also packed with some big names: think #instantboner, T.Raumschmiere & FucketYbUcKetY, Ströme and Tikiman, Boys Noiz with 2244, ATEQ, and GusGus.

It’s not entirely “underground” in character – these are established, premiere artists, and perhaps associated then with established, premiere modular gear, which while increasingly affordable isn’t exactly cheap. But then I think you can also expect lots of unofficial off events and afterparties to spring up, postcards to spread around – and it’s still Berlin. So be sure manufacturers will organize spontaneous jam sessions, visiting nerds will promote gigs, and lots of sound geekery will be had in the days during and immediately around the event. You might want to clear your calendar, plus some, like, recovery time.

On the workshop/talk side, there are various DIY offerings, as well as a female/non-binary program meant to counter-balance an event that has tended to skew fairly heavily male. Daniel Miller, Uwe Schmidt, and Mark Ernestus are in discussion, plus you can catch Lady Starlight, Andrew Huang, Lady Blacktronika, and Mylar Melodies.

The biggest rival to Superbooth I imagine will be Moogfest back in the U.S. of A. – unlikely to have, say, boutique Russian makers at it, but likely to attract some modular purveyors who won’t make the Transatlantic flight. And Moog of course will figure big at their own event. Moogfest also dwarfs Superbooth as far as festival lineup and talks. I’d also keep an eye on SONAR Festival, whose extended tech program often focuses on the European tech scene, plus Music Tech Fest in September.

But as far as synth makers in one place and synth news, Superbooth is the big bet for new tech. I’ll see you there.

Full event schedule

Exhibitor list for this year

superbooth.com

The post At Superbooth, expect new synth news, and grand instrumentalism appeared first on CDM Create Digital Music.

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