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


Novation Circuit 1.7 adds song mode and more, in yet another update

Delivered... Peter Kirn | Scene | Thu 19 Jul 2018 5:55 pm

Every time you think, okay, that’s the last update for Novation’s Circuit – there’s another one. What started as a simply entry-level groove box continues to evolve.

Version 1.7 is out now. As with past updates, you can get it by connecting your Circuit and heading to Novation’s Web hub for content, updates, and managing your own creations, Novation Components.

Find it here:
https://components.novationmusic.com/circuit/new-pack

New in this build:

Chain patterns, make songs. It’s called “Pattern Chain Sequence,: and it lets you chain together up to 32 patterns into a chain… or even chain chains into more chains, for 16 chains of patterns, then select any order you want. You can also use this live as you play by appending patterns.

Tied/drone notes. Each step can be tied to another, all the way into long drones.

Nudge off the grid: Each step gets 1-5 ticks delay, or use Synth Micro-Nudge “create new, more complex rhythms like triplets across the beat.”

Novation Circuit updates … they just keep going … and going … and going …

The post Novation Circuit 1.7 adds song mode and more, in yet another update appeared first on CDM Create Digital Music.

Arturia DrumBrute Impact: smaller size, bigger sound, $349

Delivered... Peter Kirn | Scene | Thu 19 Jul 2018 4:28 pm

Talk about less is more. The Arturia DrumBrute impact is sure to be a hit at US$349 for a packed analog drum machine – but its newfound focus and re-built sounds also make it more fun to play.

Fitting a drum machine into a smaller size and cutting the price this low does mean taking some things out. But it’s what’s left in that may make people find the DrumBrute Impact appealing.

Arturia has been trying their hand at drum machines for a while. It began on the software side, with the Spark series, but the workflow and functionality of that line never seemed to grab users quite like with Native Instruments’ Maschine or Ableton Live combined with Push, to say nothing of people who want to get away from the computer and use some hardware. The DrumBrute was promising, packing some novel analog sound circuitry together with workflow features from Spark and BeatStep Pro, but its sound felt like a work in progress. (Case in point: my studio neighbor has one and loves it, but he mutes the kick and replaces it with something else. Making drum machines is hard.

So, that’s the surprise of DrumBrute Impact. The “impact” which I thought was just smart marketing for it being small and cheap actually is a clue to the fact that the Impact has all new circuitry inside. It’s the Arturia brain here, but the soul has been upgraded.

Finally, Arturia have made something that doesn’t just feel like another Roland TR drum machine. And that’s good, because much as I love the TR, having only that color is a bit like having a Wurlitzer but no Rhodes. But simultaneously, it also sounds like a new set of sounds you want to use, without requiring you to invest a huge amount of money in those sounds. The original DrumBrute sounds pretty good – don’t get me wrong – but this sounds better, which is …better.)

The result: this thing hits really hard. That matters. We’re humans. We like things that go thud. We can feel it. This isn’t theory; it’s visceral.

The sound engine:

You get a full complement of parts, each analog and with controllable parts. “Analog” remains something of a marketing hook, but the important thing about these parts is you get a set of sounds you can manipulate directly. That means:

KICK: pitch and decay
SNARE 1: snap and decay.
SNARE 2: tone and decay.
TOM: pitch, switch between high/low.
CYMBAL: decay.
COWBELL
CLOSED HAT: tone
OPEN HAT: decay (mute linked to the open hat)
FM DRUM: carrier pitch, decay, FM amount, and mod pitch.

I’ll work on some videos and music in the coming days. Drum machines are all about taste, so you may differ, but I liked each one of these sounds – which is really hard to get on a new machine. (The TR has a huge advantage based on familiarity, too. None of us can really say what we’d think of it if someone brainwiped us and we hadn’t heard any the music made with Rolands over the years.)

More importantly, you get a huge range as you twist the encoders on these, with a sense of power across that range rather than that usual feeling of … okay, this is the sweet spot and the rest is shite.

Snare 2, for instance, can sound like a rimshot or a clap, even, depending on where you adjust it, and lots of things in between. Tom Low easily doubles as a kick with a darker color. The cowbell is an exception, but it’s a nice grown-up homage to Roland.

It’s really the FM voice that’s the big winner, though. And it’s clear you could not only cook up some unexpected percussion with it, but also hack it into a usable, potentially weird if you want, FM bass synth.

Features:

If you want lots of I/O, well… come on, this thing is $349. But you still do manage a mono mix out, four separate outs for parts, and dedicated clock in/out, MIDI in/out, and USB.

Arturia could have made this a fairly dumb box that’s just a sound engine, but they crammed a whole lot of powerful features for playing into it, as you might expect from some of their past outings. So you get:

Step sequencing with 64 patterns (64 steps each)
Song mode for chaining patterns
Polyrhythms (set each track to its own length)
Swing, either global or per-instrument
Random pattern variations
Pattern looper, beat repeat
Real-time rolls (with that touch strip again)
Multiple sync options: Internal / MIDI / Clock, including 1PPS, 2PPQ, DIN24, and DIN48
Per-drum accents

There’s even a metronome that automatically overrides itself on the main out when you plug in headphones.

You don’t have easy MPC-style note repeat, which I personally prefer to those touch rolls, and the drum pads are basic (though you get one for each part, unlike the more expensive Roland TR-8S). Other than that, it’s hard to complain.

One surprise is the distortion circuit. It’s nice, and adds some dirt, but I almost expected something raunchier. Anyway, it’s useful to have, and you can always run those outs through some distortion pedals and really go nuts. I did run it through some light effects and delays, and it sounds unreal.

I mean, what’s to say? This thing is going to sell like crazy. $349 / 299 €. Preorder now, full availability in August.

It’s turning out to be quite a summer for hardware drum machines, with the ongoing success of the Elektrons (and some updates), the breakout hit Roland TR-8S, the coming boutique MFB TanzBar II, and now this as your cost-effective choice. If you’re still failing to play drum machines live or writing dull drum parts, you have no excuse.

https://www.arturia.com/products/hardware-synths/drumbrute-impact/overview

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Your smartphone needs a pocket mixer: Roland Go:Mixer Pro review

Delivered... Peter Kirn | Scene | Tue 17 Jul 2018 8:00 am

The Roland Go:Mixer Pro packs a complete mixer into a handheld device, and it interfaces with your iPhone, Android phone – or anything else. We got one of the first units to test.

Compact enough to make the compact TR-09 behind it look huge. From left: inputs for guitar/bass (high impedance), plug-in mic (like a lapel mic), phantom power switch (needed for some microphones to function), and a full XLR-1/4″ combo jack for a mic – that last one is why it’s got the big bulge.

Your phone is missing a mixer

Smartphones at least ought to mean that we don’t carry around dedicated recorders (and their batteries and SD cards) as often. Your iPhone or Android phone or other mobile device also boasts apps for editing and managing recordings, even before you get into more creative production and live effects tools. And most importantly, they’re connected for live streaming or uploading the results.

Various products will let you connect and record instruments, or serve as more practical sound recording solutions for video shoots.

But what about the scenarios where you have a send of sound toys, synths and drum machines, instruments and microphone, or even different gadgets (like a jam session with a couple of iPads or a couple of fun phone apps)?

That’s where the Go:Mixer Pro comes in. It’s a stereo in/stereo out interface to phones and smartphones and computers, but it’s also a mixer. (It’s a standalone mixer, too, and you might even wind up using it just as much as that.)

You can connect and mix multiple inputs (9 channels in, 2 channels out):

  • Two 1/8″ stereo line inputs (for other mobile gadgets, a drum machine, a synth, whatever)
  • Two 1/4″ instrument inputs (two mono or one stereo pair)
  • Guitar/bass instrument 1/4″ jack input
  • Minijack plug-in mic (for a lapel mic, etc.)
  • One XLR/jack combo mic connection with phantom power

That’s the domain normally of ultra-small Behringer mixers and … not much else beyond that. Depending on the gear you’re using and whether you want mono and stereo connections, that’s somewhere between four and six independent sources.

There’s no line-level output – just a monitor output, though I did connect it to my studio mixer.

But there’s also a USB connection round the back. So the Go:Mixer Pro is also a 48K/16-bit stereo audio interface – you get two channels of input and two channels of output.

Front jacks – those are actually two separate inputs (each stereo) on the right.

USB means out-of-the-box support for computers and Android (OTG) phones and so on, a well as Raspberry Pi and other goodies. For iOS, Roland also supports “Made for iPhone” and includes a Lightning cable, so you get seamless operation with iPhones and iPads.

This isn’t a multichannel audio interface, only stereo, but that still fits many use cases – like recording gigs and jam sessions.

While it’s billed as a phone accessory, the mixer also works standalone – so you can just use that USB jack for power, via the dongle you already have for your phone or other gadget.

Three cables are included, for each possible device.

Form factor

Roland has packed this mixer/interface into a tiny form factor. The footprint is only about as deep as the iPhone 6 is tall. And it’s fairly slim, apart from a big bulge at the back to house the XLR combo jack and a battery compartment.

The batteries come in handy – you’ll need them to use the mixer standalone without USB power plugged in, if you want to avoid drawing power from your phone, or if you want to use a mic with phantom power with your iPhone. (Android phones will let you draw battery from the phone for phantom power; Apple are … more protective.)

Roland has included all the necessary cables in the box – USB-C, Micro USB, and Apple Lightning connections. That covers just about any computer or external power or Android or Apple phone.

But that cute little tabletop format is awfully useful. Yes, it’s marketed for smartphones, but you could also connect a Roland TR-8S, TB-03, and SH-01A to this little gadget for some on-the-go acid techno.

One constructive criticism to Roland on out-of-box experience: since this is geared for beginners, it’s a shame the box comes with no batteries and only a sheet pointing to a website in place of a copy of the (very friendly) short manual. Also a bit puzzling as they try to reach newbies: there are graphical icons on the top panel (a keyboard! a guitar!), but text labels on the connections (“instrument?”).

How it works

Operation is really plug-and-play. There’s not much feedback on level apart from a tiny “PEAK” light, but that’s okay — there are big, easy-to-see knobs.

Routing is rudimentary, but there’s a useful LOOP BACK switch – this records video while looping audio from your phone back into the device. Roland suggests doing this when you want to “play back music” while shooting video, but obviously it’s useful for production applications, as well.

And in case you forgot Roland is a Japanese company, there’s a karaoke mode. A center cancel feature is designed to remove vocals so you can host your own karaoke night.

Roland also makes Android and iOS devices intended for shooting video, though any audio device-aware application will also make good use of the hardware.

Here’s what’s really important: the thing sounds good. The mic pre and mix circuitry is transparent – I tried it with a couple of higher-end condenser mics and had no qualms inserting the mixer in my studio signal chain.

And that’s what sets this and some other recent mobile gear apart. It’s consumer-friendly, yes — but there’s no reason you can’t use this as a serious studio tool, as well. And that’s how it should be.

Key specs:
Runs on USB or 4xAAA batteries or your phone
170 mA power draw
Size: 104 x 155 x 41 mm, 220 g (that’s 8 oz)

Street price: USD$169.99 – okay, that’ll turn some people off, but frankly I’m glad to have a quality, quiet mixer

Battery case, and the two instrument jacks – you can use those as two mono inputs, or a stereo pair.

The competition

Anyone who’s been to a Berlin flea market in the past half decade will no doubt be reminded of the locally made POKKETMIXER. But that device, while a cute and cool proof of concept, is entirely unpowered, so it only mixes headphone outputs. It’s useful for crossfading between two smartphones, and that’s about it.

IK have so many devices that it’s possible one of theirs is more what you need than the Go:Mixer Pro. If it’s mainly an interface you want, for a guitar, for a mic, or for line recordings, IK Multimedia has an array of options. Apart from specialized guitar, stompbox/pedalboard, and AV options, the iRIG Pro DUO is most capable with dual preamps and balanced outputs. That interface also, crucially, has MIDI. (IK also makes standalone MIDI interfaces.)

And then there are devices that are just mixers, though for the moment few are challenging Behringer’s offerings in the subcompact mixer space. Some of those additionally have USB audio interface capability ,but that’s not the same as native iOS support, and they tend to be bulkier than this.

So to me, the Go:Mixer Pro just solved a major need for quick recordings and jam sessions. The fact that it’s a mixer as well as an interface makes it doubly convenient, and easy access to those input levels is also a big plus.

I just wish the interface with the Roland brand on it had MIDI, too – this is just shy of being an ideal ultra-compact mixer for, say, the Boutique Series. But I plan to make this a permanent part of my carry-on, and I bet I’m not alone.

https://www.roland.com/global/products/gomixer_pro/

The post Your smartphone needs a pocket mixer: Roland Go:Mixer Pro review appeared first on CDM Create Digital Music.

Exploring a journey from Bengali heritage to electronic invention

Delivered... Peter Kirn | Artists,Labels,Scene | Mon 16 Jul 2018 8:42 pm

Can electronic music tell a story about who we are? Debashis Sinha talks about his LP for Establishment, The White Dog, and how everything from Toronto noodle bowls to Bengali field recordings got involved.

The Canadian artist has a unique knack for melding live percussion techniques and electro-acoustic sound with digital manipulation, and in The White Dog, he dives deep into his own Bengali heritage. Just don’t think of “world music.” What emerges is deeply his and composed in a way that’s entirely electro-acoustic in course, not a pastiche of someone else’s musical tradition glued onto some beats. And that’s what drew me to it – this is really the sound of the culture of Debashis, the individual.

And that seems connected to what electronic music production can be – where its relative ease and accessibility can allow us to focus on our own performance technique and a deeper sense of expression. So it’s a great chance not just to explore this album, but what that trip in this work might say to the rest of us.

CDM’s label side project Establishment put out the new release. I spoke to Debashis just after he finished a trip to Germany and a live performance of the album at our event in Berlin. He writes us from his home Toronto.

First, the album:

I want to start with this journey you took across India. What was that experience like? How did you manage to gather research while in that process?

I’ve been to India many times to travel on my own since I turned 18 – usually I spend time with family in and near Kolkata, West Bengal and then travel around, backpacking style. Since the days of Walkman cassette recorders, I’ve always carried something with me to record sound. I didn’t have a real agenda in mind when I started doing it – it was the time of cassettes, really, so in my mind there wasn’t much I could do with these recordings – but it seemed like an important process to undertake. I never really knew what I was going to do with them. I had no knowledge of what sound art was, or radio art, or electroacoustic music. I switched on the recorder when I felt I had to – I just knew I had to collect these sounds, somehow, for me.

As the years went on and I understood the possibilities for using sound captured in the wild on both a conceptual and technical level, and with the advent of tools to use them easily, I found that to my surprise that the act of recording (when in India, at least) didn’t really change. I still felt I was documenting something that was personal and vital to my identity or heart, and the urge to turn on the recorder still came from a very deep place. It could easily have been that I gathered field sound in response to or in order to complete some kind of musical idea, but every time I tried to turn on the recorder in order to gather “assets” for my music, I found myself resisting. So in the end I just let it be, safe in the knowledge that whatever I gathered had a function for me, and may (or may not) in future have a function for my music or sound work. It didn’t feel authentic to gather sound otherwise.

Even though this is your own heritage, I suppose it’s simultaneously something foreign. How did you relate to that, both before and after the trip?

My father moved to Winnipeg, in the center of Canada, almost 60 years ago, and at the time there were next to no Indian (i.e. people from India) there. I grew up knowing all the brown people in the city. It was a different time, and the community was so small, and from all over India and the subcontinent. Passing on art, stories, myth and music was important, but not so much language, and it was easy to feel overwhelmed – I think that passing on of culture operated very differently from family to family, with no overall cultural support at large to bolster that identity for us.

My mom – who used to dance with Uday Shankar’s troupe would corral all the community children to choreograph “dance-dramas” based on Hindu myths. The first wave of Indian people in Winnipeg finally built the first Hindu temple in my childhood – until then we would congregate in people’s basement altars, or in apartment building common rooms.

There was definitely a relationship with India, but it was one that left me what I call “in/between” cultures. I had to find my own way to incorporate my cultural heritage with my life in Canada. For a long time, I had two parallel lives — which seemed to work fine, but when I started getting serious about music it became something I really had to wrestle with. On the one hand, there was this deep and rich musical heritage that I had tenuous connections to. On the other hand, I was also interested in the 2-Tone music of the UK, American hardcore, and experimental music. I took tabla lessons in my youth, as I was interested in and playing drums, but I knew enough to know I would never be a classical player, and had no interest in pursuing that path, understanding even then that my practice would be eclectic.

I did have a desire to contribute to my Indian heritage from where I sat – to express somehow that “in/between”-ness. And the various trips I undertook on my own to India since I was a young person were in part an effort to explore what that expression might take, whether I knew it or not. The collections of field recordings (audio and later video) became a parcel of sound that somehow was a thread to my practice in Canada on the “world music” stage and later in the realms of sound art and composition.

One of the projects I do is a durational improvised concert called “The (X) Music Conference”, which is modeled after the all-night classical music concerts that take place across India. They start in the evening and the headliner usually goes on around 4am and plays for 3 or more hours. Listening to music for that long, and all night, does something to your brain. I wanted to give that experience to audience members, but I’m only one person, so my concert starts at midnight and goes to 7am. There is tea and other snacks, and people can sit or lie down. I wanted to actualize this idea of form (the classical music concert) suffused with my own content (sound improvisations) – it was a way to connect the music culture of India to my own practice. Using field recordings in my solo work is another, or re-presenting/-imagining Hindu myths another.

I think with the development of the various facets of my sound practice, I’ve found a way to incorporate this “form and content” approach, allowing the way that my cultural heritage functions in my psyche to express itself through the tools I use in various ways. It wasn’t an easy process to come to this balance, but along the way I played music with a lot of amazing people that encouraged me in my explorations.

In terms of integrating what you learned, what was the process of applying that material to your work? How did your work change from its usual idioms?

I went through a long process of compartmentalizing when I discovered (and consumer technology supported) producing electroacoustic work easily. When I was concentrating on playing live music with others on the stage, I spent a lot of time studying various drumming traditions under masters all over – Cairo, Athens, NYC, LA, Toronto – and that was really what kept me curious and driven, knowing I was only glimpsing something that was almost unknowable completely.

As the “world music” industry developed, though, I found the “story” of playing music based on these traditions less and less engaging, and the straight folk festival concert format more and more trivial – fun, but trivial – in some ways. I was driven to tell stories with sound in ways that were more satisfying to me, that ran deeper. These field recordings were a way in, and I made my first record with this in mind – Quell. I simply sat down and gathered my ideas and field recordings, and started to work. It was the first time I really sustained an artistic intention all the way through a major project on my own. As I gained facility with my tools, and as I became more educated on what was out there in the world of this kind of sound practice, I found myself seeking these kinds of sound contexts more and more.

However, what I also started to do was eschew my percussion experience. I’m not sure why, but it was a long time before I gave myself permission to introduce more musical and percussion elements into the sound art type of work I was producing. I think in retrospect I was making up rules that I thought applied, in an effort to navigate this new world of sound production – maybe that was what was happening. I think now I’m finding a balance between music, sound, and story that feels good to me. It took a while though.

I’m curious about how you constructed this. You’ve talked a bit about assembling materials over a longer span of time (which is interesting, too, as I know Robert is working the same way). As we come along on this journey of the album, what are we hearing; how did it come together? I know some of it is live… how did you then organize it?

This balance between the various facets of my sound practice is a delicate one, but it’s also driven by instinct, because really, instinct is all I have to depend on. Whereas before I would give myself very strict parameters about how or what I would produce for a given project, now I’m more comfortable drawing from many kinds of sound production practice.

Many of the pieces on “The White Dog” started as small ideas – procedural or mixing explorations. The “Harmonium” pieces were from a remix of the soundtrack to a video art piece I made at the Banff Centre in Canada (White Dog video link here???), where I wanted to make that video piece a kind of club project. “entr’acte” is from a live concert I did with prepared guitar and laptop accompanying the works of Canadian visual artist Clive Holden. Tracks on other records were part of scores for contemporary dance choreographer Peggy Baker (who has been a huge influence on how I make music, speaking of being open). What brought all these pieces together was in a large part instinct, but also a kind of story that I felt was being told. This cross pollination of an implied dramatic thread is important to me.

And there’s some really beautiful range of percussion and the like. What are the sources for the record? How did you layer them?

I’ve quite a collection, and luckily I’ve built that collection through real relationships with the instruments, both technical and emotional/spiritual. They aren’t just cool sounds (although they’re that, too) — but each has a kind of voice that I’ve explored and understood in how I play it. In that regard, it’s pretty clear to me what instrument needs to be played or added as I build a track.

Something new happens when you add a live person playing a real thing inside an electronic environment. It’s something I feel is a deep part of my voice. It’s not the only way to hear a person inside a piece of music, but it;s the way I put myself in my works. I love metallic sounds, and sounds with a lot of sustain, or power. I’m intrigued by how percussion can be a texture as well as a rhythm, so that is something I explore. I’m a huge fan of French percussionist Le Quan Ninh, so the bass-drum-as-tabletop is a big part of my live setup and also my studio setup.

This programmatic element is part of what makes this so compelling to me as a full LP. How has your experience in the theater imprinted on your musical narratives?

My theater work encompasses a wide range of theater practice – from very experimental and small to quite large stages. Usually I do both the sound design and the music, meaning pretty much anything coming out of a speaker from sound effects to music.

My inspiration starts from many non-musical places. That’s mostly, the text/story, but not always — anything could spark a cue, from the set design to the director’s ideas to even how an actor moves. Being open to these elements has made me a better composer, as I often end up reacting to something that someone says or does, and follow a path that ends up in music that I never would have made on my own. It has also made me understand better how to tell stories, or rather maybe how not to – the importance of inviting the audience into the construction of the story and the emotion of it in real time. Making the listener lean forward instead of lean back, if you get me.

This practice of collaborative storytelling of course has impact on my solo work (and vice versa) – it’s made me find a voice that is more rooted in story, in comparison to when I was spending all my time in bands. I think it’s made my work deeper and simpler in many ways — distilled it, maybe — so that the story becomes the main focus. Of course when I say “story” I mean not necessarily an explicit narrative, but something that draws the listener from end to end. This is really what drives the collecting and composition of a group of tracks for me (as well as the tracks themselves) and even my improvisations.

Oh, and on the narrative side – what’s going on with Buddha here, actually, as narrated by the ever Buddha-like Robert Lippok [composer/artist on Raster Media]?

I asked Robert Lippok to record some text for me many years ago, a kind of reimagining the mind of Gautama Buddha under the bodhi tree in the days leading to his enlightenment. I had this idea that maybe what was going through his mind might not have been what we may imagine when we think of the myth itself. I’m not sure where this idea came from – although I’m sure that hearing many different versions of the same myths from various sources while growing up had its effect – but it was something I thought was interesting. I do this often with my works (see above link to Kailash) and again, it’s a way I feel I can contribute to the understanding of my own cultural heritage in a way that is rooted in both my ancestor’s history as well as my own.

And of course, when one thinks of what the Buddha might have sounded like, I defy you to find someone who sounds more perfect than Robert Lippok.

Techno is some kind of undercurrent for this label, maybe not in the strict definition of the genre… I wonder actually if you could talk a bit about pattern and structure. There are these rhythms throughout that are really hypnotic, that regularity seems really important. How do you go about thinking about those musical structures?

The rhythms I seem drawn to run the gamut of time signatures and tempos. Of course, this comes from my studies of various music traditions and repertoire (Arabic, Greek, Turkish, West Asian, south Indian…). As a hand percussionist for many years playing and studying music from various cultures, I found a lot of parallels and cross talk particularly in the rhythms of the material I encountered. I delighted in finding the groove in various tempos and time signatures. There is a certain lilt to any rhythm; if you put your mind and hands to it, the muscles will reveal this lilt. At the same time, the sound material of electronic music I find very satisfying and clear. I’m at best a middling recording engineer, so capturing audio is not my forte – working in the box I find way easier. As I developed skills in programming and sound design, I seemed to be drawn to trying to express the rhythms I’ve encountered in my life with new tools and sounds.

Regularity and grid is important in rhythm – even breaking the grid, or stretching it to its breaking point has a place. (You can hear this very well in south Indian music, among others.) This grid undercurrent is the basis of electronic music and the tools used to make it. The juxtaposition of the human element with various degrees of quantization of electronic sound is something I think I’ll never stop exploring. Even working strongly with a grid has a kind of energy and urgency to it if you’re playing acoustic instruments. There’s a lot to dive into, and I’m planning to work with that idea a lot more for the next release(s).

And where does Alvin Lucier fit in, amidst this Bengali context?

The real interest for me in creating art lies in actualizing ideas, and Lucier is perhaps one of the masters of this – taking an idea of sound and making it real and spellbinding. “Ng Ta (Lucier Mix)” was a piece I started to make with a number of noodle bowls I found in Toronto’s Chinatown – the white ones with blue fishes on them. The (over)tones and rhythms of the piece as it came together reminded me of a piece I’m really interested in performing, “Silver Streetcar for The Orchestra”, a piece for amplified triangle by Lucier. Essentially the musician plays an amplified triangle, muting and playing it in various places for the duration of the piece. It’s an incredible meditation, and to me Ng Ta on The White Dog is a meditation as well – it certainly came together in that way. And so the title.

I wrestle with the degree with which I invoke my cultural heritage in my work. Sometimes it’s very close to the surface, and the work is derived very directly from Hindu myth say, or field recordings from Kolkata. Sometimes it simmers in other ways, and with varying strength. I struggle with allowing it to be expressed instinctually or more directly and with more intent. Ultimately, the music I make is from me, and all those ideas apply whether or not I think of them consciously.

One of the problems I have with the term “world music” is it’s a marketing term to allow the lumping together of basically “music not made by white people”, which is ludicrous (as well as other harsher words that could apply). To that end, the urge to classify my music as “Indian” in some way, while true, can also be a misnomer or an “out” for lazy listening. There are a billion people in India, I believe, and more on the subcontinent and abroad. Why wouldn’t a track like “entr’acte” be “Indian”? On the other hand, why would it? I’m also a product of the west. How can I manage those worlds and expectations and still be authentic? It’s something I work on and think about all the time – but not when I’m actually making music, thank goodness.

I’m curious about your live set, how you were working with the Novation controllers, and how you were looping, etc.

My live sets are always, always constructed differently – I’m horrible that way. I design new effects chains and different ways of using my outboard MIDI gear depending on the context. I might use contact mics on a kalimba and a prepared guitar for one show, and then a bunch of external percussion that I loop and chop live for another, and for another just my voice, and for yet another only field recordings from India. I’ve used Ableton Live to drive a lot of sound installations as well, using follow actions on clips (“any” comes in handy a lot), and I’ve even made some installations that do the same thing with live input (making sure I have a 5 second delay on that input has….been occasionally useful, shall we say).

The concert I put together for The White Dog project is one that I try and keep live as much as possible. It’s important to me to make sure there is room in the set for me to react to the room or the moment of performance – this is generally true for my live shows, but since I’m re-presenting songs that have a life on a record, finding a meaningful space for improv was trickier.

Essentially, I try and have as many physical knobs and faders as possible – either a Novation Launch Control XL or a Behringer BCR2000 [rotary controller], which is a fantastic piece of gear (I know – Behringer?!). I use a Launchpad Mini to launch clips and deal with grid-based effects, and I also have a little Launch Control mapped to the effects parameters and track views or effects I need to see and interact with quickly. Since I’m usually using both hands to play/mix, I always have a Logidy UMI3 to control live looping from a microphone. It’s a 3 button pedal which is luckily built like a tank, considering how many times I’ve dropped it. I program it in various ways depending on the project – for The White Dog concerts with MIDI learn in the Ableton looper to record/overdub, undo and clear button, but the Logidy software allows you to go a lot deeper. I have the option to feed up to 3 effects chains, which I sometimes switch on the fly with dummy clips.

The Max For Live community has been amazing and I often keep some kind of chopper on one of the effect chains, and use the User mode on the Launchpad Mini to punch in and out or alter the length of the loop or whatnot. Sometimes I keep controls for another looper on that grid.

Basically, if you want an overview – I’m triggering clips, and have a live mic that I use for percussion and voice for the looper. I try and keep the mixer in a 1:1 relationship with what’s being played/played back/routed to effects because I’m old school – I find it tricky to do much jumping around when I’m playing live instruments. It’s not the most complicated setup but it gets the job done, and I feel like I’ve struck a balance between electronics and live percussion, at least for this project.

What else are you listening to? Do you find that your musical diet is part of keeping you creative, or is it somehow partly separate?

I jump back and forth – sometimes I listen to tons of music with an ear to try and expand my mind, sometimes just to enjoy myself. Sometimes I stop listening to music just because I’m making a lot on my own. One thing I try to always take care of is my mind. I try to keep it open and curious, and try to always find new ideas to ponder. I am inspired by a lot of different things – paintings, visual art, music, sound art, books – and in general I’m really curious about how people make an idea manifest – science, art, economics, architecture, fashion, it doesn’t matter. Looking into or trying to derive that jump from the mind idea to the actual real life expression of it I find endlessly fascinating and inspiring, even when I’m not totally sure how it might have happened. It’s the guessing that fuels me.

That being said, at the moment I’m listening to lots of things that I feel are percolating some ideas in me for future projects, and most of it coming from digging around the amazing Bandcamp site. Frank Bretschneider turned me on to goat(jp), which is an incredible quartet from Japan with incredible rhythmic and textural muscle. I’ve rediscovered the fun of listening to lots of Stereolab, who always seem to release the same record but still make it sound fresh. Our pal Robert Lippok just released a new record and I am so down with it – he always makes music that straddles the emotional and the electronic, which is something I’m so interested in doing.

I continue to make my way through the catalog of French percussionist Le Quan Ninh, who is an absolute warrior in his solo percussion improvisations. Tanya Tagaq is an incredible singer from Canada – I’m sure many of the people reading this know of her – and her live band, drummer Jean Martin, violinist Jesse Zubot, and choirmaster Christine Duncan, an incredible improv vocalist in her own right are unstoppable. We have a great free music scene in Toronto, and I love so many of the musicians who are active in it, many of them internationally known – Nick Fraser (drummer/composer), Lina Allemano (trumpet), Andrew Downing (cello/composer), Brodie West (sax) – not to mention folks like Sandro Perri and Ryan Driver. They’ve really lit a fire under me to be fierce and in the moment – listening to them is a recurring lesson in what it means to be really punk rock.

Buy and download the album now on Bandcamp.

https://debsinha.bandcamp.com/album/the-white-dog

The post Exploring a journey from Bengali heritage to electronic invention appeared first on CDM Create Digital Music.

Apple MacBook Pro revision boosts CPU, display – so should you buy?

Delivered... Peter Kirn | Scene | Fri 13 Jul 2018 7:31 pm

If you’ve been waiting for a revision of Apple’s MacBook Pro, it’s here. And Apple gives its users some significantly improved CPU performance, among other features. That’s not making Mac buying decisions much easier, though.

The MacBook Pro retains the same radical redesign, love it or hate it, that we saw in the previous revision. That includes some choices that upset some users. The keys still lack travel, which can be less satisfying for regular typists. There’s still a TouchBar and no dedicated “Escape” key, apart from one entry-level model (and that entry-level doesn’t get any upgrades). You’re still going to need dongles to cope with the USB-C port. And these models are expensive, especially once you figure in their high-end internal storage and RAM configurations. The 13″ model, the one that’s more affordable, is paired with only internal graphics. The 15″ gets dedicated graphics, but from AMD – and Adobe software is largely optimized for NVIDIA.

Okay, so what’s the good news?

New MacBook Pro 13" and 15"

Well, don’t be too glum. Apple have given these machines insanely powerful CPUs. The 15″ MacBook Pro offers 6-core Intel Core i7 or Core i9 processors. Even the base model there gives you a pretty stupid amount of CPU power – and that’s great for audio, or running expensive soft synths. The 13″ MacBook Pro gives you Quad-core Intel Core i5 or i7 processors.

The other features are more consumer-oriented, perhaps – there’s a True Tone display that adjusts its color temperature automatically, as found on the iPad, and a quiet keyboard.

But if you’re looking for a silver lining, it’s those CPUs. Powerful CPUs + macOS as the platform + the ability to service Apple laptops around the world easily + fast connectivity via those USB-C ports for audio and storage = a MacBook Pro that will make a lot of pro musicians happy. The previous MacBook Pro was no slouch, too, so the other good news is, obviously, bargain hunters can (and should) consider shopping around for used or refurbished or open box models at discount prices.

The trick is configuration. You want to save some money by getting the model without TouchBar, but I wouldn’t recommend that – you get only two USB ports and slower processors. It’s better to shop around for refurb or used and just live with the TouchBar, frankly.

I had a MacBook Pro to test last year. The keyboard I found a bit uncomfortable, but I didn’t have the reliability issues some users have reported. And talking to a lot of musicians with these machines, they’ve all been really happy – if they did express some frustration at being poorer, or having to make spec compromises they didn’t want to make, or both. But they did like the machines. As always, Apple’s industrial quality feels great – the machines are slim, the displays are gorgeous, and the keyboard is … okay, well everything but that keyboard. The TouchBar also seems to grow on people over time, and there are some options for creating custom shortcuts – nothing I’d write home about, and not really a reason to buy the machine, but something that could make you happy enough once you already own the laptop.

No, the problem is, Apple are still damned pricey. You probably want 512MB of internal storage so you aren’t constantly swapping around files just to connect a drive.

That means the “sweet spot” is really this 15″ model:

MacBook Pro 15"

15″ MacBook Pro

2.6GHz 6-core 8th-generation Intel Core i7 processor
Turbo Boost up to 4.3GHz
Radeon Pro 560X with 4GB of GDDR5 memory
16GB 2400MHz DDR4 memory
512GB SSD storage
Retina display with True Tone
Touch Bar and Touch ID
Four Thunderbolt 3 ports

High-end specs, to be sure – but at a high-end price of US$2799.

If you don’t need the GPU and the bigger screen, the 512M 13″ is the other good price point:

13″ MacBook Pro

Touch Bar and Touch ID
2.3GHz Processor
512GB Storage

2.3GHz quad-core 8th-generation Intel Core i5 processor
Turbo Boost up to 3.8GHz
Intel Iris Plus Graphics 655
8GB 2133MHz LPDDR3 memory
512GB SSD storage
Retina display with True Tone
Touch Bar and Touch ID
Four Thunderbolt 3 ports

But that’s US$1,999.

The price premium for Apple is hefty. And Windows is a perfectly serviceable operating system for audio production, if you’re willing to make some adaptations. Just be careful in the PC market. You can get some high-end GPUs, which appeal not only to gamers but for video production and creative live visuals (and running Adobe software), but it’s also clear why Apple didn’t opt for NVIDIA – those machines, even though they now increasingly conserve battery life, can run hot. And other PCs, while they have cheap sticker price, show that part of how they got there was cutting corners on industrial design. Check out The Verge’s guide to gaming laptops for a sense of what that picture looks like.

The issue with Apple, though, is that if you do go for a mid-range GPU – the same class that Apple includes in their machines – you can get PC laptops with similar industrial design and much better specs at a lower price. And that’s not the best news for Apple.

Oh, with just one caveat – you know how Apple is showing DaVinci Resolve and not Adobe software in their screenshots? I totally agree. Screw Premiere. Screw Final Cut, for that matter. Resolve is freakin’ awesome – and I have no idea why Adobe are as wedded as they are to NVIDIA GPUs. (Yes, a lot of machine learning stuff is also optimized for NVIDIA, but there are plenty of libraries running now on other architectures.)

It’s kind of a weird time to buy a new laptop – well, as usual. (Compromise! Always…) I’d love to see Apple improve their industrial design here, by coming up with a better keyboard and answering concerns about the GPU, or simply making a more competitive entry level option. But while the PC is stronger than ever, it does feel like we’re just one generation early when it comes to NVIDIA finally getting GPUs with desktop performance but low power generation and heat generation (and they are close).

But that’s just if you care about GPU. For audio production, it’s the CPU that really matters – and hot damn, no complaints there. Both Apple and the PC offer blazing-fast CPUs that still have absurdly long battery life. They now also both have high-speed buses – which on the PC had for a while been a stumbling block.

If you really want a Mac, I’d bargain shop to get a previous generation model with fairly high specs. If you want a PC, don’t fear Windows (and for that matter, Linux) too much.

At least now the landscape is fairly clear as we come into the end of the year. If you’ve been putting off a purchase and suffering with an old machine, the rich array of software that will run on these faster CPUs I think will mean a purchase now will make you pretty happy musically. There’s great hardware out there, but it’s also an exceptionally wonderful time for making music in the box, too. And it’s hard to complain about that.

https://www.apple.com/macbook-pro/

Photos courtesy Apple.

Previously:

Turn that MacBook Pro Touch Bar into a MIDI controller, free

The new MacBook Pro will work with your gear – if you add adapters

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Eurorack’s prices are dropping, as Herr Schneider laments

Delivered... Peter Kirn | Scene | Wed 11 Jul 2018 9:15 pm

With the proliferation of modules, the phrase “Eurorack bubble” has been floating around for a while. But now it appears to be translating into falling prices.

The basic problem is this: more demand means more interest, which translates into more manufacturers, and more production. So far, so good. Then, more distributors pick up the goods – not just boutique operators like Schneider, but also bigger chains.

Where’s the problem? With too many modules out there in the marketplace, and more big retailers, it’s easier for the big retailers to start to squeeze manufacturers on price. Plus, the more modules out in the world, the greater the supply of used modules.

Andreas Schneider has chosen to weigh in on the issue personally. You can read his statement in German:

Jetzt auch XAOC bei Thomann ..

And in an English translation (with more commentary by Schneiderladen in English):

HerrSchneiders statement on current developments in the Eurorack market [stromkult]

There’s actually a lot there – though the banner revelation is seeing the cost of new modules suddenly plummet by 30%:

You asked for it: Due to the increased demand for Eurorack modules in Europe, even the large retailers for musical instruments are now filling the last corners of their warehouses and buying complete production runs from manufacturers and everything else they can get. Some manufacturers might be happy about this, but the flooding of the market already leads to a significant drop in prices here and there, some modules are already available with a 30% discount on the original calculated price and yet were still quite hot the other day!

As SchneidersLaden we have decided to go along with this development and of course offer corresponding products for the same price to our customers, although most of them have already bought them when the goods were still fresh and crisp! We’re almost a little sorry about that, but hopefully the hits are already produced and the music career is up and running? Nevertheless, sorry – but the decision for this way lies with the manufacturer and was not our recommendation!

By the way… we don’t advertise with moneyback-warranty… we’ve always practiced it. But please: get advice first, then buy – like in the good old days. Because it’s better to talk to your specialist retailer – we know what we are selling. And by the way: We do free shipping throughout Europe and there are Thursdays on that we are in the shop until nine o’clock in the evening …and real CHAOS serves creativity.

That had to be said – end of commercial break.

Okay, so some different messages. To manufacturers, with whom Schneider seems to place a lot of the blame, the message is to avoid glutting the market by selling so many units that then they lose their price margin. (That seems good advice.) There’s also a “dance with the one that brung you” attitude here, but that’s probably fair, as well.

To buyers, work with specialists, and please research what you buy so you don’t shoulder retailers and manufacturers with lots of returns. That seems good advice, too.

(Hope I’ve paraphrased that fairly.)

It does seem there’s a looming problem beyond just what’s here, though. For the community to continue to expand, it will have to find more new markets. It does seem some saturation point is inevitable, and that could mean a shakeout of some manufacturers – though that isn’t necessarily a bad thing. The used market should also be a worry, though on the other hand, some people do always seem to buy new.

I’d echo what the two posts here say, which is the synth maker world will likely be healthy if manufacturers and consumers do some research and support one another.

Before anyone predicts the sky is falling, I’ve had a number of conversations with modular makers. Those with some experience seem to be doing just fine, even if some have expressed concern about the larger market and smaller and newer makers. That is, those with some marketing experience and unique products still see growth – but that growth may not translate to greener manufacturers who are trying to cram into what is becoming a crowded field.

Other thoughts? Let us know.

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The strange, cartridge-powered speech of TI Touch & Tell

Delivered... Peter Kirn | Scene | Wed 11 Jul 2018 4:23 pm

No, not the better-known Speak & Spell. TI’s 1981 Touch & Tell was a singular moment in speech synthesis. Here’s its story – and a beautiful circuit bent mod.

Before the iPad, the Texas Instruments Touch & Tell was a kid’s robotic learning assistant – a marvel of simple chip-based electronics combined with some Reagan-era toy design and mechanical engineering. As was the fad in home game systems, you added capabilities by popping in cartridges.

The Smithsonian in Washington, DC found it important enough to put the Touch & Tell in its collections. And yes, gasp – the Smithsonian has a chip collection. (Sorry, there’s a link hole to destroy productivity for the rest of today.)

http://smithsonianchips.si.edu/texas/t_453.htm

I spoke with Ivo Ivanov, who had for some years made gorgeous custom modifications of this and other 80s classics. He was giving them slick futuristic paint jobs and useful, expressive circuit bend controls for transforming and glitching out the sound.

He shares more tidbits about these gems:

Cartridges pose with one of Ivo’s mods.

Yes, the little cartridges are basically vocabulary add-on carts. They each have a specific theme, with words and phrases that pertain to the theme. My favorite is the “World of Transportation” (yellow cart) which talks a lot about space, planets, satellites etc. 🙂

There is even a ULTRA rare ET cart that has words and phrases from the ET movie – very hard to find, but very very cool.

OH and there’s even a version of this toy that was made for disabled people – it’s called the Vocaid:

http://www.datamath.org/Speech/Vocaid.htm

The Vocaid has all kinds of “emergency” and “medical” words and phrases which, when bent, are super diabolical haha.

Anyway the cartridges are inserted into the device in a slot that lies under that panel on the left of the unit. Normally, you would need to insert a thin plastic overlay that matches the cartridge – this would activate the pins that give you access to the particular bank in question. I decided to modify that and completely removed the membrane pad so that I could wire up my own bank switches (top row of switches on the face of unit). This way, the user can basically select any bank of words/phrases without having any of the inserts. Much cleaner and more convenient way to access to all possible banks.

Last bit of info on these: the TI Touch & Tell uses a slightly different chip than the Speak & X family of toys. This one sounds deeper and more menacing, which is why I always preferred them. They are also lesser known, which made them a bit cheaper and easier to find.

And they have a nice open flat surface, which was perfect for my painted designs.

A slick, sexy all-black mod from Ivo.

Circuit bent instruments by Ivo Ivanov [Facebook]

Datamath has a nice view of the chips inside:

Reed Ghazala, father of circuit bending, personally designed the modifications of this instrument. What I find so lovely about them is that they deconstruct the voice synthesis in such a way that it really does begin to sound like an instrument – not just a special effect, but some weird, alien approach to producing noise.

Here’s a 2007 video by John Madere employing Reed’s bends:

And here are some other benders modding the VOCAID:

HELP! FIRE! EMERGENCY! EMERGENCY!

Yeah, fits the times reasonably well…

To check out these sorts of sounds in software, look no further than Plogue’s amazing plug-in:

chipspeech

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Go inside Berlin’s synth heaven – and one of its top modular makers

Delivered... Peter Kirn | Scene | Mon 9 Jul 2018 6:07 pm

Electronic music is understood by the general public mostly through artists – tech is just something in the background with knobs. But there’s more to the story than that.

And while it’s certainly well known in synth loving circles, Berlin has accordingly been techno capital and club capital, but is finally getting recognition as a mecca for technology.

These two films take you inside one retailer and one manufacturer that have each championed the return to boutique sonic electronics, to patch cables and modular synthesis, and that have resisted anything like mass market mentalities or commodification.

They could have easily been mistaken as throwbacks, but there’s some futurism to the visions of both Mark Verbos and Andreas Schneider. Schneider’s name is associated with Berlin, having established his shop as the hangout, wallet emptier, and community pillar of the synth scene. Verbos, who was himself once a Berlin resident, has only recently brought the modular business he established in New York City across the Atlantic. And even though their wares are unmistakably fetish objects, I’d say both brands make their value proposition through a commitment to adventurous sound. So yes, you get vintage-looking knobs and slightly anachronistic telephone switchboard interfaces. But the investment, their message says, is in exploring strange new worlds and undiscovered sounds.

Schneidersladen, toured by Synth Anatomy, is a clinic and community hub as well as a place to surrender to gear acquisition syndrome. And it retains the same personality and idiosyncracies that mark the larger synth loving scene.

Mapping the Schneider empire is getting tricky these days, but the short version: Schneidersladen in Kreuzberg is the new retail iteration of what was once Schneidersbüro (at Alexanderplatz, the old location)). ALEX4 is a distribution company. Superbooth, while once just an actual booth at the Musikmesse, is now an event series with its own production company.

At Verbos Electronics, Mark – who cut his teeth as a Buchla expert and repairperson – walks through the passion that drives his business in high-end modules. Side note: Mark is also a consummate live techno musician on his own instruments, having fired up these boxes in the likes of Berghain (and, back in the day, the old Ostgut and Tresor). Hearing him play should leave little doubt that these machines are for dancing, not just chin scratching. (You can, of course, attempt doing both at once. Full support.)

Check out the online presence of each:

http://www.verboselectronics.com/

https://www.schneidersladen.de/

Photo: Verbos Electronics.

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Modal goes from craft and boutique to sub-$300 SKULPT power synth

Delivered... Peter Kirn | Scene | Fri 6 Jul 2018 9:26 pm

Modal Electronics have done ultra high-end boutique, and they’ve done cute, cheap craft synths. But now they’re gunning for a sub-$300 instrument that looks consumer-friendly – and packs some 32 oscillators and more.

If it’s successful, it looks like the first portable power polysynth that has an entry-level price tag – no exposed circuit boards, no cutesy features, no stripped-down sound sources. And it also has some parallels to IK Multimedia’s UNO, introduced at Superbooth Berlin in May. It even has a membrane keyboard like the IK piece. But whereas IK chose to go analog – and thus have just two VCOs – Modal have beefed up the architecture with by opting instead for virtual analog guts.

What you get, then, is a monosynth, paraphonic, or polyphonic instrument. You can route modulation into elaborate combinations. You get FM, PWM, tuning, and ring mod. And it has a built-in sequencer plus arpeggiator, which seems to be fast becoming a standard feature these days – but a lot of extras for each that definitely are anything but standard.

And with all that complexity, of course you’ll also be glad for the included patch storage and recall.

But it’s the pricing – projected under US$300 – that make this so aggressive. You can buy an iPad and load it with a powerful polysynth for that price, but there’s not anything I can think of that does this.

Full specs:

4 voice – 32 oscillator virtual analogue synthesiser
8 oscillators per voice with 2 selectable morphable waveforms
Mixer stage for osc levels along with FM, PWM, tuning and Ring Modulation options
Monophonic, Duophonic and Polyphonic modes available
Multi option Unison / spread to detune the 32 oscillators for a huge sound
8 slot modulation matrix with 8 sources and 37 destinations
3 x envelope generators for Filter, Amplitude and Modulation
2 x audio rate LFOs, one global and one polyphonic
Realtime sequencer that will record up to 128 notes and up to 4 parameters.
Fully featured arpeggiator with division, direction, octave, swing and sustain controls.
Resonant filter that can be morphed from low pass, through band pass, to high pass
Delay and distortion (wavehsaping overdrive, not bitcrushing) effects
Optional MIDI clock sync for LFOs and Delay
128 patch and 64 sequence storage locations
16 key touch MIDI keyboard
MIDI DIN In and Out – Analogue clock sync In and Out connections
Class compliant MIDI provided over USB connection to host computer or tablet
Headphone and line output
Power by USB or 6 x AA batteries
Optional software editor available for MacOS, Windows, IOS and Android
Portable and compact design

The design looks contemporary and stylish, too, if perhaps recalling 80s Frogdesign for Apple. And you might expect some compromises on I/O or something like that, but … there aren’t.

Sounds:

I’ll be curious to see how it’s received – while slick looking, the membrane keyboard and that diagonally oriented control panel may not be for everyone. But it’s hard to argue with the price and all that power underneath.

It certainly means Modal Electronics are game for any market segment. I can’t think of another maker that’s gone quite this quickly from “sell your compact car to buy our high-end synth” to “actually, maybe just fold it together yourself” to “let’s crowd-fund a slick, inexpensive design object.” (Okay, maybe Moog Music counts – but it took them some years to span from theremin kits to rockstar-priced modular reissues.)

The Kickstarter launches next week.

http://www.modalelectronics.com/skulpt/

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Synths may be spared worst of US trade war – for now

Delivered... Peter Kirn | Scene | Mon 2 Jul 2018 1:44 pm

Following Moog Music’s alarmed email regarding US trade policy, some in the synth industry have responded that the immediate impact on manufacturers will be minimal.

Okay, so what’s going on?

The matter of discussion is still a document by the US Trade Representative regarding proposed tariffs or import taxes. These are 25% additional tariffs imposed by the USA on Chinese goods as they’re imported into the United States.

This document has changed over the past months. But the USTR does provide a public comment period for any changes – meaning, while these tariffs are set to go into effect this Friday the 6th of July, theoretically there shouldn’t be any additional changes.

And that’s where there’s a legitimate problem with the way Moog Music – and my own writing here on CDM – presented the problem.

Paul Schreiber, an engineer who has worked with multiple companies in the industry, posted a heated rebuttal to the Moog letter. That was not necessarily to defend Trump administration policy, but rather to suggest that Moog and others may have overreacted or mischaracterized the immediate realities of the policy.

See, previously:
Moog urges US citizens to take action to stop Trump import tax

Long story short: the idea is, the tariffs apply only to small components, like LEDs and potentiometers, but not to more significant expenses like the “circuit boards” Moog mentioned in their email.

And in fact, the cost of those really shouldn’t significantly impact the cost of US-made products, including Moog’s – even on an instrument that’s covered in LEDs and stuffed with circuits, those particular parts make up a relatively small portion of the cost. They’re not meaningless – shaving dollars and even cents off individual components is a pretty major part of the design process. But they’re not the sort of thing that would disrupt jobs or hurt the economy.

The area of confusion may be around circuit boards, as Schreiber observes – and I’m forced to admit, I agree with his assessment. He writes in a follow-up post:

If you search the tariff PDF for ‘printed circuit assemblies’, you get many hits (ATM machines, radiation detectors, etc) and here in Section 90, this one listing.
The ‘issue’ is that the listing of the tariff codes are an ABBREVIATED DESCRIPTION, not ‘as formally written’ in the ACTUAL codes.
The 9030 section of Chapter 90 is SPECIFICALLY talking about oscilloscopes. And this 9030.90.68 is referring to a non-US company, importing a ‘kit of parts’ into the USA, including a stuffed pc board, and then building a scope in the USA.

That’s not necessarily a definitive list, and it is open to interpretation but … I do tend to agree with this interpretation, unless someone can present a compelling alternative reading.

There are still reasons for the electronic musical instrument building community to be concerned. An escalating trade war between the USA and its trading partners could pose unexpected problems in the near future. And if these trading difficulties hurt the US economy, that impact could be felt, too. But it’s important to separate that from the immediate impact on making synths, which for the moment may indeed be negligible.

Other industries have greater cause to worry. The US automakers in particular are seriously concerned about costs for raw materials and retaliatory penalties abroad – but they’re impacted differently than US synthmakers are. Agriculture are concerned, too, as punitive measures cut off markets they need for exports. (And, okay, yes, synthesizers make up a much smaller part of the US economy than cars or agriculture, obviously. I guess we still have work to do? Or we have to figure out how you can ride synthesizers to different places, or … eat them.)

The DIY community I shared in my original post are harder hit, too, as a lot of their products are just these components – see Boing Boing’s story on maker products.

And there’s the fact that the US President is saying threatening things about the EU in general.

But in a heated political climate, it’s important to separate long-term risks from immediate problems, and to keep concerns in scale. For now, it’s reasonable for makers like Moog to protest isolationist or protectionist US trade policy, or heated up trade rhetoric and potential trade wars. But the rules going into effect this week, when viewed just inside the context of our industry, likely aren’t catastrophic – not yet.

I’m awaiting further comment from Moog on their activism and will update this story when that’s available.

Feature photo (CC-BY Paul Downey.

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Pioneer’s $250 DDJ-400 will appeal to DIYers, iOS users, too

Delivered... Peter Kirn | Scene | Tue 26 Jun 2018 6:00 pm

We’re flooded with cheap DJ controllers. But the new Pioneer is interesting for two reasons: one, it’s a home accessory for CDJ users, and two, its driverless functionality means you can plug into anything.

Okay, first, the obvious: the DDJ-400 is a US$249 (279 €) controller with audio interface. And the massive “Rekordbox” logo applied to the side of it means it works with Pioneer’s preferred DJ software. For beginners, the idea is, you plug this thing in and the controller and software teach you basic DJ chops – playing techniques and how the technology works – via an included on-screen tutorial.

Gradually, Pioneer have done what was obvious to most of us for them to do – they’ve made that controller work as much like their expensive club DJ players do as they can. A CDJ-2000NEXUS2 will set you back US$2199 each, so out of range of even most moderately successful DJs. This duplicates the rough layout of the wheels, the play/pause and cue buttons, Beat FX, and looping controls of the full-sized CDJ.

Now, why I need to get this in to test is, the key variable is the feel of the wheels. What a lot of DJs presumably would be practicing, at least in part, is beat-matching – the security to turn off that dreaded sync button. I don’t want to get too far into that, other than to say, whatever the musical utility of your ability to do that or whether it makes you a “real” DJ, it does have the potential to make DJing “really” less boring for the human operator.

My hope is that Pioneer has taken the improved low latency performance of the latest revision of their high-end controllers and brought it to this model, too – but we’ll see. Low latency and low jitter will make this more fun to play.

But either way, as a prep tool, this looks like a good investment. The latest Rekordbox is included free, which already amounts to half the purchase price here. (That license is 139 €). If you’re organizing your catalog in Rekordbox to drop on a USB stick, you might as well have a play and mix a bit, too.

But that’s not why I think the DDJ-400 is interesting.

Driverless and hacker/DIYer friendly

No, this is the interesting part. Pioneer says the DDJ-400 is driverless and class-compliant. That means you have an audio interface, with cuing, and a MIDI control surface, that work with any device.

So… let’s say you’re a fan of the iOS app Soda. That’s the app that I claimed in December might make you take DJing seriously again. Soda didn’t catch on, but … it also didn’t have a good controller and audio interface to go with it.

The DDJ-400 plus Soda are actually more flexible as musical tools than what you get with a $5000 DJ hardware setup… but the total purchase price here, with some recent iPad revisions, is more like $500. And it’s more portable.

Or, let’s say you’re sick of controllers and laptops in the DJ booth – as you should be. Now you can add a Linux DJ tool, throw it on a small computer (like a Raspberry Pi), and DIY fashion your own case.

That should be priceless for the reaction of people in a DJ booth alone.

“Aw, look, another n00b with a laptop and controller because he can… hey … the… where’s the computer?”

I wish Roland had done this with their recent DJ controller line, but … now Pioneer have, so we’re sorted.

I’m not endorsing it yet, as I haven’t tried the hardware yet or seen how MIDI mapping works, but suffice to say – I’m interested.

And even if the above is really the use case, this one is … fun.

By the way, if you’re wondering why makers like Native Instruments and Serato haven’t come up with their own integrated hardware, instead of making us plug in unwieldy laptops in the middle of a party like we thought we were looking for an Internet cafe instead of a booth, well…

I wonder that, too. Constantly.

In the meantime, if anyone will turn a controller into some wild all-in-one DIY solution, and even come up with novel, out-of-the-mainstream ways of DJing in the process, it’s readers here.

Enjoy.

And for everyone else, yeah, the ubiquity of Rekordbox and CDJs means this is probably the $250 controller to beat. (Rival makers, you knew already this was the challenge.)

Specs:
24-bit sound card
2-channel control surface
Pad FX
High/low pass filter (software)
Sampler (software), 16 slot / 4 bank
8 hot cues
Manual looping
Beat jump
Fader start / adjustable crossfader
USB port
1 mic input (1/4″ TS)
RCA master out
Dedicated headphone monitor (minijack) (note that you can also use this for cueing even as your computer speakers or other connected speakers handle output)

Pioneer DDJ-400

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New Faderfox, from mixer-style controllers to RGB insanity

Delivered... Peter Kirn | Scene | Fri 22 Jun 2018 6:46 pm

Want something vanilla, like a MIDI controller with a classic mixer layout or a bunch of pots? Or want something crazy – like a psycho-bright light-up show controller? Faderfox has you either way.

The one-person German boutique controller company Faderfox has been making clever controllers since some of the first days of doing that for software, and they keep getting better. Mathias – he really is just one guy – wrote with the latest. He’s Mathias is now shipping the first controllers in his “MODULE” line. The idea here is, you get to mix and match some simple options to build up a virtual mixing surface, for your hardware or software.

These are pre-configured to work with Ableton Live and Elektron’s boxes, and the form factor even matches the Elektron so you can arrange or rack them together neatly.

You can use the new MODULE line with any MIDI-enabled hardware or software, but fans of Elektron will notice something about the dimensions.

On the MX12, you get twelve fader strips – 12 faders, 24 pots, and 24 buttons. Those still send whatever you want, so you can control whatever hardware or software tool you wish (via control change, program change, all the goodies), either by manually creating templates or using MIDI learn to automatically assign them.

On the PC12, you get just pots – 72 of them. You could put those two together, or use them individually, or build a monster system by chaining these together.

You might get away with the generic one and some adjustment in your software, but there are up to 30 custom setups if not.

And each comes in an aluminum case with both two MIDI in and two MIDI out, plus USB. An extension port lets you connect to other stuff.

Oh, and this is cute and useful – these come with a dry erase marker and empty overlay, so you can mark up your controller and know what everything is. There’s even a matching stand. Different colored fader caps let you add additional visual feedback.

399EUR (before VAT) for each.

Okay, so that’s the practical – now let’s get to the impractical (but fun). Mathias has done various one-off custom controller builds, but the GT1 is the craziest, biggest yet – a light-up, 144 RGB LED show controller.

So, for anyone complaining about laptop performance behind a blue glow, uh… take this.

Of course it syncs to music. Of course.

More:

http://www.faderfox.de/gt1.html

The post New Faderfox, from mixer-style controllers to RGB insanity appeared first on CDM Create Digital Music.

Behringer have sued Dave Smith Instruments, forum posters for defamation

Delivered... Peter Kirn | Scene | Tue 19 Jun 2018 6:51 pm

In addition to sending a cease-and-desist letter to a popular Chinese music gear site, Behringer are now taking rival manufacturer Dave Smith Instruments – and unnamed users of a popular forum – to court.

Last week, CDM reported that Behringer’s global entity, MUSIC Tribe, had sent a cease and desist letter to Chinese news site Midifan, threatening a criminal defamation lawsuit would be the next step. However, as of this writing, no lawsuit has been served.

CDM was tipped off today that court filings are available showing MUSIC GROUP (in the USA) have proceeded with legal action against Dave Smith Instruments and various defendants for libel per se, libel per quod, and product disparagement, in the state of California, seeking damages in excess of US$250,000. The filings are dated 9th of June 2018.

The twist here is that in addition to Dave Smith Instruments, the manufacturer, and employee Anthony Karavidas (an engineer at DSI), the lawsuit seeks damages from an additional twenty individuals posting in the same forum thread. Since the identity of those individuals is unknown, they’re named as “DOES 1-20.” In the words of the lawsuit, “the true names and capacities, whether individual, corporate, associate or otherwise … are unknown to Plaintiff.”

In other words, it’s possible someone reading this article just got sued in California but doesn’t know it yet. Uh… hi there, happy Tuesday.

Behringer name Dave Smith’s Prophet Rev2 as a competitor to the Behringer Deepmind 12 in the suit.

Court filings are available as public record of the San Francisco County Superior Court (that’s the state trial court of the county of San Francisco). Expect a large pile of legal findings from the two companies and their lawyers, but those are located here:

https://sfsuperiorcourt.org/

(All documents related to the proceeding are located under case CGC17559458.)

The lawsuit is directed exclusively at commentary published by DSI employees on the Gearslutz forums.

But to review: a selection of comments by a single engineer and twenty unnamed individuals has been turned into a quarter-million dollar-plus defamation claim against a manufacturer, an individual, and pseudonymous forum posters. That thread is still up – it reached the 153-page count before a Gearslutz moderator closed the discussion, on the 4th of July of 2017. One sample:

Behringer Mini model D? A good idea?

(Whereas some threads were initiated by forum user Uli Behringer himself, this one came from a third party, before it ballooned.)

Dave Smith Instruments declined to comment for this story.

What the lawsuit says

According to evidence presented in the lawsuit, Tony, appearing as Tonykara, wrote a series of messages in a thread in early 2017 on Gearslutz forums, and later identified himself as an engineer working for DSI when a user asked him who he was. In the same thread, DOES 1-20 [users identified only by handle] chime in with other sentiments tilted against Behringer. (This thread itself was not entirely one-sided – even in the court evidence provided, you’ll read other form posters criticizing Dave Smith Instruments and Tonykara.)

These observations range from general complaints about Behringer products copying other products or characterizing business practices as “underhanded,” to specific allegations – particularly, a post by Karavidas that claims the Behringer CT100 cable tester is a “blatant copy” of a product by Ebtech.

Some of these complaints may indeed be factually questionable or genuinely inaccurate. Other claims, however, would be harder to disprove. For instance, the lawsuit highlights a comment by Mike Hiegemann (aka Paul Dither) who says “it’s not a secret that Behringer has ripped off products in the past and is planning to do so in the future.” The lawsuit characterizes that as “false, defamatory, and libelous.”

It would be hard to prove or disprove what Behringer will do in the future (obviously), but note that past lawsuits by Roland and Mackie in fact claimed some past Behringer-branded products were deliberate copies. Whether or not those makers won those lawsuits, it means that they did product a significant amount of material evidence as a matter of public record.

Or to put it another way: if you go out and say CDM is a “crap site,” I really can’t do anything. Even if you say “CDM is a biased site that only does what it’s advertisers want,” ditto. I might disagree, but could I take you to court for libel? If you say “CDM is a crap site that’s just a bunch of archaic open source tools mixed with advertiser news made for aging music hipsters,” I … actually, okay I think I’m just now projecting. You get the point.

So, the next questions to answer appear to be, how truthful or untruthful were these statements? Can they be held as libelous? What damages would the authors owe MUSIC Group, if so? Is Dave Smith Instruments legally responsible for what one of its employees posted on a forum?

And I suspect most of interest to readers of this site, can Behringer unmask a series of people posting under pseudonyms and hold them responsible, as well?

There are three charges made in the lawsuit:

Libel per quod. Paraphrasing: claims about Behringer’s business practice and alleged history of copying other products are false and have hurt the company’s reputation. This category requires demonstrating specific legal damages in court.

Libel per se. This is a related set of claims, but because of US law forbidding attacking someone else’s business profession falsely, might not require damages. [Very big disclaimer: I’m not a lawyer. If I were a lawyer, I would probably advise you that you shouldn’t take this description as legal advice. But you can get this literally from what “per quod” and “per se” mean.]

Product disparagement. Here, because potential customers read these statements, and they refer to the Behringer brand and products, there’s a specific claim of damages to the brand and the products, beyond

If you can find your way through the court documents, you’ll find exhibits reproducing the complete forum thread, plus a cease and desist letter sent on the 7th of March 2017 – and an agreement by Tony Karavidas to comply with the letter.

There are a couple of things here that are unclear to me, which I will try to investigate.

One, reading through the lawsuit, I’m unclear as to the degree to which Karavidas may have violated the terms of the cease and desist. It appears that some message posts – as he attempted to continue to explain and/or complain about the situation – post-date an agreement to cease disparaging Behringer. It may be that failing to adequately respond to the cease and desist triggered the legal action, instead of defusing the issue.

Two, it’s unclear what will happen to other, pseudonymous posters to Gearslutz. The lawsuit says these “Does” 1-20 will be amended to the lawsuit once their identities are known. That may mean attempting to obligate the forum to reveal those identities. (Historical footnote: when Apple attempted to unmask sources and authors of stories on its leaked “Asteroid” audio interface over a decade ago, courts ruled it couldn’t, in a case called Apple versus Does. This is a different set of circumstances, but it gives some clue to how courts handle unidentified users in legal cases.)

Watching this case, however, may prove itself interesting. The law is intended to prevent damage to a profession – whether you’re one person or a big manufacturer – based on untrue claims. But this means two things, if the courts work correctly. On one hand, if false claims were made about Behringer, that will presumably come out. On the other hand, if Behringer are simply gagging criticism, and if industry complaints that their products are unfairly copying intellectual property, theoretically, that should come out, too.

And, of course, it’s possible for both of those scenarios to be true at once, depending on how this shakes out.

But for anyone who believed that defamation was some peculiarity of Chinese law last week, in fact US law and many international laws do hold individuals and publishers (like this one) legally responsible for damages if we make claims that are false. And yes, suffice to say, that could put a publisher out of business, on legal fees alone. That’s not a commentary on this case – that’s the reality of tort laws worldwide. And those laws exist to balance protections on free speech with the impact that speech can have as others.

Behringer had not yet responded to CDM’s request for comment as I published this.

Related:

Late last week, I shared news that Chinese news portal Midifan had received a cease and desist letter from Behringer, via Music Tribe.

Behringer threatens legal action against a site that called it a copycat

The post Behringer have sued Dave Smith Instruments, forum posters for defamation appeared first on CDM Create Digital Music.

How to make dirty sounds, in videos, with Novation Circuit Mono Station

Delivered... Peter Kirn | Scene | Fri 8 Jun 2018 12:35 pm

Remember when we were sold on everything being clean and digital? Now it’s just about grime and filth. But if you were wondering where to start with Novation’s cute, dirty Circuit Mono Station, they’ve got a series of hands-on videos to get you going.

Some back story: the Mono Station is the follow up to the first Circuit. Like the original, it’s a square-ish looking box with a colored grid as its center. But whereas the original Circuit concealed a digital polysynth and drum machine (with the ability to load your own samples), the Mono Station is all about analog synthesis. That means it also has additional controls, and unlike the mysterious macro encoders on the first Circuit, the Mono Station’s knobs and faders and bits actually have labels. So you can read a label with words on it, and you know, maybe have a better idea what you’re doing. Or you can just ignore that and give it a try anyway.

The “How to filth” series runs through a set of fairly practical ideas to get you going.

It’s really rather a nice way to get a manual. There’s no lengthy explanation, no theory – and no sitting through a really long tutorial. Just watch a few steps, and then see if you can copy more or less what they’ve done. That should help you dive straight in. And if you’re on the fence about the Circuit Mono Station, this gives you some stuff to go try if you’re borrowing a friend’s hardware or going to the shops.

Here’s the full series:

This is a great one for summer, too, as Circuit and Circuit Mono Station are nicely portable.

What do you think? Is this sort of thing useful to you? Would you want to see more / something different? Let us know; it’s great to get feedback from readers on what’s making you musically productive. And if you make some tunes with us, send us those, too!

Here’s our story on the instrument, at launch. Some time later, it’s still holding up at that price point – and it’s not a clone or throwback, either, but a totally new instrument, designed by some nice people in England. (I know – I’ve met them! And they’re musicians, as well, of course!)

Novation Circuit Mono Station: paraphonic, feature packed, $499

The post How to make dirty sounds, in videos, with Novation Circuit Mono Station appeared first on CDM Create Digital Music.

ROLI funded by Sony, Onkyo; is it time for the Walkman of music making?

Delivered... Peter Kirn | Scene | Mon 4 Jun 2018 5:35 pm

ROLI, makers of the Seaboard and Blocks, keep adding to their funding. But new investments by Sony and Onkyo say a lot about betting on a future of music that’s centered on creation, not just consumption.

We entered this century with people thinking mostly about music as a more or less passive thing. But as a business, consumption is just not as bright as it once was. There’s no new recording format – so, sorry Men in Black, no more jokes about hold on to their existing phones. (That shift seems even to be reaching Apple.) Spotify and Apple Music and their ilk haven’t delivered big profits, either, obviously. And in sectors like electronic dance music, we’ve watched the vision of brand synergy and an EDM empire at SFX Entertainment meet the reality of flat festival sales. What cured things at Beatport, meanwhile, in the wake of SFX mismanagement? Refocusing on serious DJs and the core business.

What does seem to be a vast horizon, then, is actually making music. You know – the thing the whole world’s population was already doing before the music industry convinced them to listen to round discs of other people doing it for them, or tune in electromagnetic frequencies that could be translated to other people playing.

All this makes the ongoing investment in ROLI really interesting.

The London-based manufacturer of alternative instruments and mobile music making gadgets is now up past US$50 million in investment. That includes a $27m Series B in 2016, and investments from venture capital but also Universal Music Group.

ROLI’s lineup of products has grown from more expensive flagship controller instruments to a modular line of mobile products that matches with software and services.

There are no public numbers shared for Onkyo or Sony, but it’s really the fact of those makers entering the fray that matters. They’re both Japanese giants known for their role in consumer products for listening to music. Onkyo today remains a major audio brand; they’re also the owner of the home entertainment side of Pioneer. (The bits of Pioneer catering to DJs and car owners lie elsewhere, but the home entertainment brand is still significant.) The Onkyo investment has also recently closed, says ROLI.

And then there’s the Sony Innovation Fund (SIF). Focused on the northern world – USA, EU, Israel, and Japan – Sony’s fund was created in 2016 to invest on companies from seed to middle stage development. That ranges everything from biometrics to VR to drones, so it’s not just about music and media by any means.

In addition to funding, SIF says they work with the companies they fund on strategy, that they build relationships with Sony and its partners, and therefore grant access to some of Sony’s global reach and expertise. There are parallels here to the investment we saw recently in Berlin’s Native Instruments. Sony is betting on music creation and could help connect ROLI to a global consumer market. German EMH Partners who funded NI are betting on music creation and could help connect to a global market for services. Get it? (They have to deliver on that promise, of course.)

We’re also getting into bigger financial figures than music creation investment has seen before; NI got a whopping 50 million Euros, in an industry where we still think it’s pretty cool to go to check out something one person has literally made in their bedroom that you solder together and bolt into a rack with a screwdriver.

Okay, so that’s money and strategy – but what’s the actual business here?

Well, ROLI do have a compelling software/hardware play. The Blocks line give users of computers and mobile devices a convenient, expressive, wireless interface to music creation. There’s software to match – ROLI make a mobile app, a desktop synth, and perhaps most significantly the JUCE framework on which a lot of modern music making software is built. ROLI are also pushing ideas like the Songmaker Kit, hoping musicians will take their line of wireless controllers on the go.

The Blocks line – like the Songmaker Kit here – encourages musicians to take their music creation on the go.

But lots of makers have interesting music products. If we’re really imagining a wider population of music consumers buying this gear, it’s going to require both inventing clever new things, and then moving those things through the channel into musicians’ hands. Your smartphone manufacturer or consumer headphones do that already, but musical instruments move through much more antiquated, fragmented retail outlets. (Uh… that’s a fancy way of saying the unfriendly guys hanging in the corner of your local music store picking at a guitar may not necessarily be able to sell new users on the instrument of the future.)

ROLI already made a bold move into getting in front of new customers with a massive Apple Store retail partnership, followed by other channels (including consumer-oriented stores and shops like Guitar Center). Now it’s a question of whether they can keep moving.

ROLI released some statements to CDM on the idea of the investment, and confirm that global sales reach is a big part of the story. “We’re now selling our hardware and software in over 30 countries,” says founder and CEO Roland Lamb. Now they want to go further, he says. “We want to reach a whole world of music makers and provide them the tools they need to be creative, and we’re getting much closer through our investments​ from SIF, [Chief Creative Officer] Pharrell [Williams], and Onkyo,” he says.

And Lamb compares his products to the iconic Sony Walkman:

I’ve always admired Sony. A Sony Walkman was one of the first music products I ever owned. I took it on my first trip to Japan as a teenager. It was a magical way to bring my musical world with me everywhere that I went. What ROLI is doing with BLOCKS is very similar to what Sony did with the Walkman, but in our case we’ve made a music creation device that you can take with you anywhere. It’s pioneering a new, liberating way of making music, just like Sony pioneered the modern revolution of music listening which hundreds of millions of people benefit from today.

Yes there’s money, but as I described the SIF operation, there’s additional support, Lamb says:

They really engage with startups. They provide an entrée to the Sony world and its networks and expertise. We hope to collaborate with Sony as much as possible in ways that build unique value for our customers. Without going into the details of the deal, this is certainly a significant investment and relationship for us.

But maybe most interesting, the funds themselves may support new products. While I admire the Blocks, and the Seaboard interface is certainly innovative, I think it’s still important to note that these are just controllers. The Walkman was a standalone product; Blocks is useless without a laptop or smartphone or tablet. And that’s assuming you believe this is really the shape of what music making will look like, amidst a lot of competing ideas and untapped possibility.

“We’re developing new music-making tools across hardware and software,” says Lamb. He says the funding will accelerate development and “positions us to continue focusing on innovative research and development as we scale.”

In other words, this gives them room to focus on inventing new stuff even as they try to get their products to a broader audience.

Also interesting: you might doubt the Songmaker Kit, at 600 bucks, would sell well versus just buying one or two of the individual modules to save money. But you’d be wrong. ROLI tells CDM it’s the best-selling product they make.

The Songwriter’s Kit has become ROLI’s best-selling product, the company says.

So there’s a certain business genius to dividing products into modules, then selling the consumers those modules as … a predefined set. Wait, maybe I shouldn’t tell you that, but should find some really complicated name for it, and then sell my services as a highly-paid consultant. (I dub it the “Modular Acquisition Product Consumer Chain.” Call me.)

But whether you personally like the ROLI line or not, consider this: ROLI are both proving the power of the future of electronic musical instruments on a larger scale, and creating a platform for the rest of the electronic music ecosystem in the process. Blocks can easily be a gateway into other mobile apps, desktop software, and other hardware. ROLI also show that some ideas that would have seem like crazy, far-fetched one-off inventions just recently can appeal to everyday consumers if they’re given adequate market support and channel distribution. People seem to like crazy and futuristic things. (Heck, it may be that average consumers like those things more than some of the more conservative folks you’ll see trolling forums and adding wooden endcaps to their synths.)

And investors are taking notice. There are some real, big bets emerging that say the future of music creation will be bright. For those trained on the recent Silicon Valley model, where some venture capital looks for quick, easy returns or fast exits, it’s also safe to say that some of this may be looking further into the future, not just into what’s selling this month.

But if you believe that creation is the essence of music making, if you think everyone should have access to self expression through music, and you see creation as the future, I think there’s real reason to be encouraged by investment in ROLI.

What we’ll need to watch, meanwhile, is whether larger funds and expertise at ROLI and Native Instruments translate into products and services that work for musicians. That’ll take time. But, hey, I was trained as a musicologist, which deals with this on a timeframe of centuries. I’ll wait. Back to making music to fill the time.

The post ROLI funded by Sony, Onkyo; is it time for the Walkman of music making? appeared first on CDM Create Digital Music.

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