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


SEGA, Taito arcade come to KORG Gadget on Nintendo Switch

Delivered... Peter Kirn | Scene | Thu 4 Jul 2019 6:46 pm

Here’s one serious Japanese game + music nerdgasm: legendary arcade maker Taito, game giant SEGA all come together on the KORG platform on the Nintendo platform.

KORG Gadget on the Nintendo Switch was always at least an intriguing novelty. As with titles for Nintendo DS and Game Boy before it, bringing a music creation tool to a game platform means the ability to swap between gaming and music making for maximum fun. The Switch doesn’t have a unique onboard hardware synth like the Commodore 64 or vintage Nintendo machines. But it does also have the twist of connecting to a TV.

That’s cool, but frankly, it’s also not quite enough. Handheld gaming for musicians caught on partly because of a unique sound, and it happened before platforms like iPhone, iPad, and Android were available. If you have a choice between using Gadget on a Switch or in its original version on the iPad, well, it’s no contest – the iPad is more capable.

That’s what makes this a development. Now you get something that seems tailored to a game platform, from two titans of the arcade era.

Otorii is a sample-based instrument and rhythm generator, based on 80s SEGA arcade titles.

Titles: Out Run, After Burner

Ebina is a synthesizer built on FM sounds (apparently not doing FM itself, but capturing some signature FM sound samples), also with 80s colors in mind.

Titles: Darius, The Ninja Warriors

Kamata is a sound engine (already part of the Switch title) developed with Bandai Namco.

SEGA and Bandai Namco presumably need no introduction to anyone interested enough in gaming to even read this far. If Taito is familiar and you don’t know why, that’s because its name has graced the likes of Space Invaders, Bubble Bobble, Arkanoid, Battle Gear, and Kick Master. Sometimes Americans saw these titles with other distributors onboard, and Taito hasn’t been independent since the mid-90s, but you’ve likely also encountered the development house as part of its new life as part of Square Enix.

In short – this is Japan at its best, making us fall in love with something fun in childhood and then staying with us through our adult lives. Whether you’re particularly bound to Taito in the arcade, that’s something other Japanese music tech makers might learn from. (Partnership is key to the success of KORG here – they work with experienced mobile and game developer and Japanese neighbor DETUNE for these titles.) Roland, Yamaha, and Casio continue to have a rocky relationship with their own legacy (with some promising recent signs). But if the games industry has fended off clones and rivals, surely music tech could do the same – with plenty of back catalog to mine.

In any event, I know plenty of electronic musicians who are just as addicted to gaming – men and women, young and old, and plenty who even work inside the gaming industry. There’s nothing to do but smile when you see it come together. Game on.

http://www.detune.co.jp/

http://gadget.korg.com/nintendo_switch/

The post SEGA, Taito arcade come to KORG Gadget on Nintendo Switch appeared first on CDM Create Digital Music.

The OP-Z now samples, too, in Teenage Engineering software update

Delivered... Peter Kirn | Scene | Mon 1 Jul 2019 4:04 pm

The OP-Z is the aggressively minimalist, love it-or-hate-it compact synth. But now an update makes it make way more sense – with sampling available, this pint sized synth turns into the instrument it was meant to be.

Teenage Engineering have always said the OP-Z isn’t a replacement for the Teenagers’ original OP-1. Instead, it’s a … successor that comes after the OP-1, builds on the OP-1 features, and at first was available in place of the OP-1, which was initially not available and now is available but prohibitively expensive.

Okay, whatever. The OP-Z is totally a replacement for the OP-1, with some new ideas and form factor and no more screen. But that’s great, actually. To the extent the OP-Z pisses off and confuses some consumers, it does so even more than the OP-1 initially did.

And what’s the point of having a compact, candy bar-shaped synth that obviously resembles a Casio CZ-1 if it doesn’t sample?

Adding sampling to the OP-Z means you can really make it your own, mangling sounds through its grungy but expressive interface. All that minimalism may lessen the value of this device for some, but for those willing to throw themselves into the workflow, it’s liberating – the portability and lack of distraction or surface complexity propelling your musical imagination somewhere different.

Or not. Because I think the thing that’s lovely about Teenage Engineering is that their synths don’t have to please everyone – they’re willing to please some people more while pleasing other people less.

But the bottom line is, this is the update that brings the OP-Z in line with its initial promise and what the OP-1 could do. Once you learn the shortcuts and use the force, you might not even miss the display (though the iPhone/iPad app is there, at least while you memorize the layout).

Sampling also lets this double as an audio interface. I still think you’ll want the oplab module for I/O, and I wish they’d just make that standard. But if you’re willing to splurge on an idiosyncratic device, there’s nothing quite like the OP-Z.

In this update:

new sampling mode

2 channel audio interface

full OP-1 sample format support (pitch, gain, playmode, reverse)

improved stability

support importing raw samples to drum tracks

apply track gain before fx sends

don’t allow copying empty steps
restart arpeggio with TRACK + PLAY on arpeggio track
don’t trigger gate step component if track is muted
toggle headset input with SCREEN + SHIFT

send clock out if enabled even though midi out is disabled
don’t loose clock sync when switching project via pattern change
fix broken parameter spark random setting
fix force save not working on project 1
fix inverted headphone gain levels dep. on impedance

note!
this firmware adds support for the gain, play direction and playmode settings of the OP-1 sample format. in older firmwares, these settings were ignored. this might lead to your patterns sounding different if you are using custom samplepacks. the most likely culprit will be the playmode setting. the OP-1 defaults to GATE, while the OP-Z used to treat everything as RETRIG. Adjust your playmode setting on each sample to RETRIG, to get it sounding like before.
if your track levels change due to the gain setting, either adjust the track volume, or adjust the per sample gain value.

Here’s the original OP-1 sampling feature, explained:

The post The OP-Z now samples, too, in Teenage Engineering software update appeared first on CDM Create Digital Music.

The OP-Z now samples, too, in Teenage Engineering software update

Delivered... Peter Kirn | Scene | Mon 1 Jul 2019 4:04 pm

The OP-Z is the aggressively minimalist, love it-or-hate-it compact synth. But now an update makes it make way more sense – with sampling available, this pint sized synth turns into the instrument it was meant to be.

Teenage Engineering have always said the OP-Z isn’t a replacement for the Teenagers’ original OP-1. Instead, it’s a … successor that comes after the OP-1, builds on the OP-1 features, and at first was available in place of the OP-1, which was initially not available and now is available but prohibitively expensive.

Okay, whatever. The OP-Z is totally a replacement for the OP-1, with some new ideas and form factor and no more screen. But that’s great, actually. To the extent the OP-Z pisses off and confuses some consumers, it does so even more than the OP-1 initially did.

And what’s the point of having a compact, candy bar-shaped synth that obviously resembles a Casio CZ-1 if it doesn’t sample?

Adding sampling to the OP-Z means you can really make it your own, mangling sounds through its grungy but expressive interface. All that minimalism may lessen the value of this device for some, but for those willing to throw themselves into the workflow, it’s liberating – the portability and lack of distraction or surface complexity propelling your musical imagination somewhere different.

Or not. Because I think the thing that’s lovely about Teenage Engineering is that their synths don’t have to please everyone – they’re willing to please some people more while pleasing other people less.

But the bottom line is, this is the update that brings the OP-Z in line with its initial promise and what the OP-1 could do. Once you learn the shortcuts and use the force, you might not even miss the display (though the iPhone/iPad app is there, at least while you memorize the layout).

Sampling also lets this double as an audio interface. I still think you’ll want the oplab module for I/O, and I wish they’d just make that standard. But if you’re willing to splurge on an idiosyncratic device, there’s nothing quite like the OP-Z.

In this update:

new sampling mode

2 channel audio interface

full OP-1 sample format support (pitch, gain, playmode, reverse)

improved stability

support importing raw samples to drum tracks

apply track gain before fx sends

don’t allow copying empty steps
restart arpeggio with TRACK + PLAY on arpeggio track
don’t trigger gate step component if track is muted
toggle headset input with SCREEN + SHIFT

send clock out if enabled even though midi out is disabled
don’t loose clock sync when switching project via pattern change
fix broken parameter spark random setting
fix force save not working on project 1
fix inverted headphone gain levels dep. on impedance

note!
this firmware adds support for the gain, play direction and playmode settings of the OP-1 sample format. in older firmwares, these settings were ignored. this might lead to your patterns sounding different if you are using custom samplepacks. the most likely culprit will be the playmode setting. the OP-1 defaults to GATE, while the OP-Z used to treat everything as RETRIG. Adjust your playmode setting on each sample to RETRIG, to get it sounding like before.
if your track levels change due to the gain setting, either adjust the track volume, or adjust the per sample gain value.

Here’s the original OP-1 sampling feature, explained:

The post The OP-Z now samples, too, in Teenage Engineering software update appeared first on CDM Create Digital Music.

Motor Synth is brutal, electro-mechanical synth – last days of discount

Delivered... Peter Kirn | Scene | Mon 24 Jun 2019 2:48 pm

Gamechanger Audio’s Motor Synth is a devastating industrial machine – with actual motors driving the sounds, all built in Latvia. Here’s everything you need to know about it, as this week is the end of its steep crowd funding discount.

Electro-magnetic induction is a technique beloved by noise artists and experimental sound creators – about 40 seconds into the promo video, you’ll see what happens when you run a power drill near an electric guitar.

The Motor Synth creators ask the question, what if you took that gnarly, unruly chaos, and packed it into a desktop synth? That makes this raw sound force and not only makes it more portable, but also more controllable. You can unleash the full power of electro-magnetic sonic destruction if you want, but you can also direct it into musical form.

The result is a unique combination of sound produced by mechanical motors and electro-magnetic energy, and musical, digital and electronic control.

https://www.indiegogo.com/projects/motor-synth#/

Gamechanger Audio also have the track record to pull off this kind of custom manufacturing. As with their other neighbors in the capital city of Riga, Latvia, Gamechanger benefit from having their engineering and design in an industrial city that’s newly reborn, and ready to work with innovative clients while literally speaking the same language. (That’s inside the European Union, in case you’ve been asleep since the 80s – sit down, there’s something huge I need to tell you about the USSR.) And they’ve made some exceptionally fine products, like the PLUS Pedal and PLASMA Pedal.

There are plenty of crowd-funded projects that seem to do it for the sake of it or for lack of a better idea. But the Motor Synth really does appear to be something where a crowd funding campaign, preorder style, enables a unique design. And in exchange, you get a steep discount – right now US$899 early bird instead of $1299.

So, what can you do with those motors?

The basic sound itself produces wild harmonics and overtones. There are eight motors, grouped into four-note polyphony – two motors/two voices per note.

The interesting twist is that there are two simultaneous synthesis methods build around the motor:
Magnetic pickups, for raw electro-mechanical chaos, and
Optical (infrared) sensors, which produce pitched signal by “reading” the discs’ motion visually

The optical approach echoes the optical synthesis approaches of early Russian pioneers and BBC Radiophonic Workshop innovator Daphne Oram. Check Derek Holzer’s terrific outline history of these optical tonewheels, or Moscow’s Andrey Smirnov. Smirnov in particular had championed a revived interest in these approaches – and Evgeny Sholpo’s Variophone, an early instrument that did what the Motor Synth did, at its most basic level. Like the Motor Synth, the Variophone employs mechanical, rotating disks.

Andrey’s presentations can become almost wistful in imagining an alternate history where optical and mechanical synthesis evolved instead of just today’s analog synths. Gamechanger are punching a hole through the multiverse and taking us into an alternative future.

Okay, but with that as the sound source, how does this actually become a synth and not just a sound art experiment? That’s where the Motor Synth comes alive:

Waveshape between three optical waveshapes and one (noisy!) inductive motor sound
Amplitude envelope
Accelerate, brake (your glide here is mechanical!)
Filter with drive
Modulation of voice envelopes (tremolo), pitch, filter
Onboard keyboard with scale, latch/momentary, and adjustable pitch – very analog
Mono, poly, unison modes
Arpeggiator, sequencer, loop modes
Digital recall of parameters
MIDI control of all parameters – you can even use MTS for microtuning, send MIDI CC, or assign velocity and aftertouch

It’s really pulling this together with the sequencing options, including slots for live-saving sequences, loops, and arpeggiators as motion sequencing as you play, that makes this a full-featured instrument. You’re limited to 4-voice polyphony, not 8-voice, but they are planning something called split mode for working with per-motor controls.

You also get not only the requisite MIDI, USB, and audio out I/O, but also audio input (which you can pitch track), separate sends pre-filter for inserting effects, CV (pitch/clock/gate), and more. Those features are evolving but already look terrific.

Check all that I/O, including CV on the lower left-hand side of the image.

All in all, it’s a complete and new sonic toolkit, not just a simple synth with a weird motor gimmick. And having heard it live, it really comes alive – the properties of both the optical and electro-magnetic sound sources produce something that’s deeply organic and beautifully unpredictable.

Plus there’s a strobe light to make the whole thing look insanely cool.

Heck, even Jim Jarmush wants one:

There’s lots more information on the crowd-funding page, plus my favorite FAQ addition, which I’ll paraphrase – no, you don’t want to touch the motors, unless you like turning your fingers into a bloody mess. (I don’t want to know how you handle power tools, either.)

Motor Synth @ indiegogo.com

The post Motor Synth is brutal, electro-mechanical synth – last days of discount appeared first on CDM Create Digital Music.

Motor Synth is brutal, electro-mechanical synth – last days of discount

Delivered... Peter Kirn | Scene | Mon 24 Jun 2019 2:48 pm

Gamechanger Audio’s Motor Synth is a devastating industrial machine – with actual motors driving the sounds, all built in Latvia. Here’s everything you need to know about it, as this week is the end of its steep crowd funding discount.

Electro-magnetic induction is a technique beloved by noise artists and experimental sound creators – about 40 seconds into the promo video, you’ll see what happens when you run a power drill near an electric guitar.

The Motor Synth creators ask the question, what if you took that gnarly, unruly chaos, and packed it into a desktop synth? That makes this raw sound force and not only makes it more portable, but also more controllable. You can unleash the full power of electro-magnetic sonic destruction if you want, but you can also direct it into musical form.

The result is a unique combination of sound produced by mechanical motors and electro-magnetic energy, and musical, digital and electronic control.

https://www.indiegogo.com/projects/motor-synth#/

Gamechanger Audio also have the track record to pull off this kind of custom manufacturing. As with their other neighbors in the capital city of Riga, Latvia, Gamechanger benefit from having their engineering and design in an industrial city that’s newly reborn, and ready to work with innovative clients while literally speaking the same language. (That’s inside the European Union, in case you’ve been asleep since the 80s – sit down, there’s something huge I need to tell you about the USSR.) And they’ve made some exceptionally fine products, like the PLUS Pedal and PLASMA Pedal.

There are plenty of crowd-funded projects that seem to do it for the sake of it or for lack of a better idea. But the Motor Synth really does appear to be something where a crowd funding campaign, preorder style, enables a unique design. And in exchange, you get a steep discount – right now US$899 early bird instead of $1299.

So, what can you do with those motors?

The basic sound itself produces wild harmonics and overtones. There are eight motors, grouped into four-note polyphony – two motors/two voices per note.

The interesting twist is that there are two simultaneous synthesis methods build around the motor:
Magnetic pickups, for raw electro-mechanical chaos, and
Optical (infrared) sensors, which produce pitched signal by “reading” the discs’ motion visually

The optical approach echoes the optical synthesis approaches of early Russian pioneers and BBC Radiophonic Workshop innovator Daphne Oram. Check Derek Holzer’s terrific outline history of these optical tonewheels, or Moscow’s Andrey Smirnov. Smirnov in particular had championed a revived interest in these approaches – and Evgeny Sholpo’s Variophone, an early instrument that did what the Motor Synth did, at its most basic level. Like the Motor Synth, the Variophone employs mechanical, rotating disks.

Andrey’s presentations can become almost wistful in imagining an alternate history where optical and mechanical synthesis evolved instead of just today’s analog synths. Gamechanger are punching a hole through the multiverse and taking us into an alternative future.

Okay, but with that as the sound source, how does this actually become a synth and not just a sound art experiment? That’s where the Motor Synth comes alive:

Waveshape between three optical waveshapes and one (noisy!) inductive motor sound
Amplitude envelope
Accelerate, brake (your glide here is mechanical!)
Filter with drive
Modulation of voice envelopes (tremolo), pitch, filter
Onboard keyboard with scale, latch/momentary, and adjustable pitch – very analog
Mono, poly, unison modes
Arpeggiator, sequencer, loop modes
Digital recall of parameters
MIDI control of all parameters – you can even use MTS for microtuning, send MIDI CC, or assign velocity and aftertouch

It’s really pulling this together with the sequencing options, including slots for live-saving sequences, loops, and arpeggiators as motion sequencing as you play, that makes this a full-featured instrument. You’re limited to 4-voice polyphony, not 8-voice, but they are planning something called split mode for working with per-motor controls.

You also get not only the requisite MIDI, USB, and audio out I/O, but also audio input (which you can pitch track), separate sends pre-filter for inserting effects, CV (pitch/clock/gate), and more. Those features are evolving but already look terrific.

Check all that I/O, including CV on the lower left-hand side of the image.

All in all, it’s a complete and new sonic toolkit, not just a simple synth with a weird motor gimmick. And having heard it live, it really comes alive – the properties of both the optical and electro-magnetic sound sources produce something that’s deeply organic and beautifully unpredictable.

Plus there’s a strobe light to make the whole thing look insanely cool.

Heck, even Jim Jarmush wants one:

There’s lots more information on the crowd-funding page, plus my favorite FAQ addition, which I’ll paraphrase – no, you don’t want to touch the motors, unless you like turning your fingers into a bloody mess. (I don’t want to know how you handle power tools, either.)

Motor Synth @ indiegogo.com

The post Motor Synth is brutal, electro-mechanical synth – last days of discount appeared first on CDM Create Digital Music.

Delaydelus 2 is a patchable sampler/delay from Daedelus, Dr. Bleep

Delivered... Peter Kirn | Artists,Scene | Fri 21 Jun 2019 6:04 pm

Delaydelus 2 is a devilishly clever box that’s really two devices in one – it’s a sampler, and it’s a pitch-able delay with feedback. And the whole thing is patchable. Meet the latest from Daedelus and Dr. Bleep.

Daedelus is the southern California producer and artist who among other things has pioneered visual immersive shows and was one of the first champions for the monome. Dr. Bleep is John-Mike Reed, the imaginative engineer behind the likes of the Thingamagoop. The original Delaydelus certainly embodied their collective ideas. But it was more of a alligator-clipped art oddity. Delaydelus 2 looks like a serious pedalboard contender.

There’s a great demo video:

Check the specs:

Stereo 16bit 44kHz audio i/o
Banana plug patch bay allows you to play up to 4 samples at once triggered from the two arcade buttons or trigger inputs.
Control the speed and direction of the samples with the knobs as well as the CV FM (-5V to 10V) input
CV envelope follower out (0-8V) based on audio playback level
Trigger outs (10V) from each sampler button.
One shot mode, Gate (mpc style) mode, + Send external audio through the built in 1 second stereo delay.
Record into one of 10 banks. Each can hold up to 17 seconds of high quality audio.
Delay sync in and out with the ability to divide and multiply incoming sync rate.
Micro SD card slot allows loading and saving WAV files to and from the 10 banks.
Built-in new samples from Daedelus
Powered by a 12V DC adapter – included.

Gorgeous artwork on the top panel by Chicago’s Trek Matthews, too.

What I think makes this musical, as on any musical delay, is really making pitch and time open to control and modulation. Pairing the delay with a sampler means this instrument can do a whole lot – and it’s nice having removable SD storage.

This is available for preorder now, with the first units hitting production in August (if you get in on that preorder).

US$295.

https://bleeplabs.com/product/delaydelus-2-preorder/

By the way, as we wait on this preorder, I’m in the next days putting the wraps on my review of Snazzy FX pedals, including in particular their wonderful WOW AND FLUTTER. I could imagine this pairing with the Bleep offering nicely – like faking a whole tape studio in two compact pedals:

The post Delaydelus 2 is a patchable sampler/delay from Daedelus, Dr. Bleep appeared first on CDM Create Digital Music.

Delaydelus 2 is a patchable sampler/delay from Daedelus, Dr. Bleep

Delivered... Peter Kirn | Artists,Scene | Fri 21 Jun 2019 6:04 pm

Delaydelus 2 is a devilishly clever box that’s really two devices in one – it’s a sampler, and it’s a pitch-able delay with feedback. And the whole thing is patchable. Meet the latest from Daedelus and Dr. Bleep.

Daedelus is the southern California producer and artist who among other things has pioneered visual immersive shows and was one of the first champions for the monome. Dr. Bleep is John-Mike Reed, the imaginative engineer behind the likes of the Thingamagoop. The original Delaydelus certainly embodied their collective ideas. But it was more of a alligator-clipped art oddity. Delaydelus 2 looks like a serious pedalboard contender.

There’s a great demo video:

Check the specs:

Stereo 16bit 44kHz audio i/o
Banana plug patch bay allows you to play up to 4 samples at once triggered from the two arcade buttons or trigger inputs.
Control the speed and direction of the samples with the knobs as well as the CV FM (-5V to 10V) input
CV envelope follower out (0-8V) based on audio playback level
Trigger outs (10V) from each sampler button.
One shot mode, Gate (mpc style) mode, + Send external audio through the built in 1 second stereo delay.
Record into one of 10 banks. Each can hold up to 17 seconds of high quality audio.
Delay sync in and out with the ability to divide and multiply incoming sync rate.
Micro SD card slot allows loading and saving WAV files to and from the 10 banks.
Built-in new samples from Daedelus
Powered by a 12V DC adapter – included.

Gorgeous artwork on the top panel by Chicago’s Trek Matthews, too.

What I think makes this musical, as on any musical delay, is really making pitch and time open to control and modulation. Pairing the delay with a sampler means this instrument can do a whole lot – and it’s nice having removable SD storage.

This is available for preorder now, with the first units hitting production in August (if you get in on that preorder).

US$295.

https://bleeplabs.com/product/delaydelus-2-preorder/

By the way, as we wait on this preorder, I’m in the next days putting the wraps on my review of Snazzy FX pedals, including in particular their wonderful WOW AND FLUTTER. I could imagine this pairing with the Bleep offering nicely – like faking a whole tape studio in two compact pedals:

The post Delaydelus 2 is a patchable sampler/delay from Daedelus, Dr. Bleep appeared first on CDM Create Digital Music.

There’s evidence of standalone Maschine hardware in the latest update

Delivered... Peter Kirn | Scene | Fri 21 Jun 2019 10:07 am

What if you could get Maschine and its live performance and sound capabilities – without the computer? One inquisitive user on the Native Instruments forum has found some compelling evidence that that could be what’s next.

Maschine 2.8.3 dropped this week. A post by user moderator D-One points to materials in the scripts folder that seem to suggest standalone Maschine hardware – a device that could switch between a controller for your computer and hardware that works on its own.

This wouldn’t be the first time Native Instruments inadvertently revealed hardware before it was announced. The Maschine MK3 was also located by a user snooping around in the Lua scripts that connect the hardware and software.

The forum thread has been up since Thursday evening Berlin time, though I don’t know if eventually it will get deleted.

2.8.3 And the future of Maschine???

It’s fun reading the whole thread, but here’s the gist:

  • Maschine hardware, apparently designated MH (MH1071)
  • Shutdown, reboot, and recovery routines, suggesting it works on its own
  • Mention of an SD card, USB mode
  • Apparent references to controller and standalone modes

(1071 is a strange number to use as designation, so it seems likely that part is intended as a codename, unless there’s something we don’t know. 1071 buttons. No idea.)

D-One grabbed this image after loading the script on his/her existing hardware. Yeah, this is certainly suggestive.

The appeal of this is pretty clear. AKAI have already staked out hardware that doubles as standalone (without computer) and controller. But despite the storied “MPC” moniker being associated with that company, the overwhelming feedback I’ve seen from readers of this site is that many of you have moved on to workflows in either Maschine or Ableton Live. While the Akai Force was an interesting preview, I think we’re also waiting on a standalone device that has robust sync performance and handles complex sound production without choking its CPU. That is, these things need to be better than a computer when running on their own. So if Native Instruments are working on this, I’ll be keen to check it out.

You should take this with a grain of salt. Part of the reason manufacturers don’t announce gear ahead of time is not so much to keep secrets from competitors – many of whom know what they’re working on – as to manage our expectations. Hardware doesn’t always ship as planned, or when scheduled. So there’s no way to know for sure whether these Lua scripts mean anything about new Maschine hardware coming soon.

But… that is still very possibly what they mean. And that would be awfully nice. Stay tuned.

Because you know, what this all ultimately comes down to is getting to play these wonderful gadgets like instruments without having to worry about OS updates or drivers onstage. Ever again. Heck, it’s summer – grab a roving PA or mobile speaker and let’s head out for a techno picnic.

One reader also points us to this – it looks like the name of the product could be Maschine Plus. (You’ll see that buried in the symbols in the code.)

The post There’s evidence of standalone Maschine hardware in the latest update appeared first on CDM Create Digital Music.

Hands on Erica Synths Techno System, dream industrial modular

Delivered... Peter Kirn | Scene | Tue 18 Jun 2019 7:21 pm

The modular world is replete with ideas – but what would a complete modular concept look like? Erica Synths’ Techno System is just that rare kind of concept, a modular made for dancefloors rather than chin scratching, and a total vision instead of just components parts. So we thought it deserved a proper techno test drive.

The modular for techno

We’re one year following the debut of the Techno System at last year’s Superbooth show in Berlin. But with this year’s edition having brought still a fresh avalanche of gear – from Erica, alone – now seems the perfect time to take a step back.

To give Techno System a proper run, I teamed up with producer Jamaica Suk. Apart from running her own label Gradient, Jamaica is a rising star on the techno scene, as well as a resident of the impossibly hot Pornceptual queer party series. (Full disclosure: we also share a studio. Pornceptual for its part is hot enough that its Boiler Room wound up – no joke – on Pornhub after YouTube dropped it.)

The Techno System is a Eurorack modular, so it’s both a complete system you can buy in a case – that’s what we tested – and a set of modules. That is, you may not personally drop four grand on this full rig, but at the same time, the Techno System itself serves as a nice demo for all the individual modules inside.

Making a “Techno System” isn’t just a marketing ploy. Techno – and related industrial and EBM sounds – can be safely said to be a big driver behind the growth of modular. The days of modular just being about noodling and chin scratching are over; these machines pound dance floors and top charts. And while DJs now turn up to gigs with just USB sticks, the pro techno circuit, particularly around Europe, is such that it makes sense at a certain point to graduate to using something that feels like a real instrument.

So, yeah, the elephant in the room – the Techno System definitely isn’t cheap, at about four grand for the full system. That’s a steep ask compared to desktop, though as Jamaica pointed out to me, it compares favorably to the cost of building your own rig – often winding up without something that’s terribly usable. And it is something some artists, at least, will pay off by gigging with the machine.

For Jamaica, that meant even a small skiff full of modules already cost about half the price of Techno System on its own. And Erica’s hardware offers an escape from her previous hardware workflow – doing a lot of menu diving. (Jamaica compared the experience to the menu-oriented work she does on Elektron gear.) The only menu on the Erica rack is on the Drum Sequencer; this rack is bestrewn with knobs. And it’s covered with patch points, meaning you can make sounds that are dynamic and organic and weird and unexpected.

So let’s see if this system can live up to its aspirations – and if there are individual modules you should watch out for onboard, too.

To set the mood, here’s a jam on the system as Jamaica and I were hanging out in the studio with it. (My arms, in case the hair didn’t give that away.) Mayhem and destruction? Oh, yes, indeed. Expect more; I was quickly filling up my drive with song ideas. Maybe I’ll put them out under a psuedonym. “DEATHBL0GG3R?” “D0RKDUSTRIAL?” No?

A complete system

The Techno System is a set of modules for “rhythm based music production” – think techno instrumentation, but of course what you do with it is up to you. On the surface, it seems fairly obvious: you get a bass module, percussion parts (kick drum, snare, toms, clap, hats, cymbals). There are processors (two-in-one effects, two-in-one drive). And there’s stuff to compose and put this all together: a modulator, an expansive sequencer, mixers, and jacks to the outside world.

As you’d expect at this price, you get everything – a handy patch book and user manual, a bunch of nice patch cords, the power supply, and a lovely rugged case. (You have to pay extra for a leather strap; we left that bit out.) The case is solid and surprisingly luggable – you could absolutely take this as a carry on and tour with it. (For the love of God, avoid checked luggage.)

The thing is, that description sounds vanilla – and this beast is the opposite of vanilla. Latvian builder Erica have imbued this with their usual, raunchy, violent post-Soviet sound aesthetic. There’s just a whole lot of engineering detail here that gives this set up of modules its unique character.

And it’s clear straight away. The first time I saw it live, as sweaty Erica associate and Riga-based producer Kodek destroyed a dance floor with it. That’s not just to gush – there’s a specific reason Erica have gotten that sound. Module by module (and to be honest, I wound up looking at this after playing with it – as in “why the heck does it sound this crazy, anyway?):

The heart of the sound: a distinctive, brutal combination of bass and drums.

Bassline. This module to me is the star. The oscillator is a newly remade version of Doug Curtis’ legendary CEM3340 analog oscillator – the sound you know from classic Oberheim, Korg Mono/Poly and Poly- synths, Roland SH-101 and Jupiter-6, and many others. Instead of using someone else’s clone, though, Erica work with Riga’s own Alfa, who have been manufacturing their own version in Latvia.

Erica’s stroke of genius here is combining that three-waveform oscillator with a transitor-based sub-oscillator for more bass, plus their ultra-violent Acidbox-style filter, plus a detune that’s actually not a detune but two bucket brigade delays acting like one. What you get from that potent brew is leads and basslines that can go full spectrum from melody to noise, and a filter/detune combination that makes it absolutely punch people in the gut. And it makes perfect sense in a modular, because all that insanity lends itself to patching, from the frequency modulation input to modulating the filter.

I should, like, talk about the rest of the modules, though.

Bass drum. I briefly mistyped “ass drum.” Freudian slip. Yes, this will give you classic kick sounds. Again, though, Erica worked a ton of magic here – the tune depth and tune controls are immensely satisfying, you get a Drive in case this thing isn’t dirty enough for you, and ample CV.

Snare. The Snare is probably the unsung hero of this rack – Jamaica has taken to using it even for hats. So even though Erica call this “909-inspired,” the fun is really making full use of the Noise Tone and “Snappy” control and patching in CV, which makes this more of an all-purpose percussion module.

Toms, Clap. The Toms and Clap are actually the only particularly vanilla modules here – they’re conventional toms and clap circuits, just with loads of patchability, including on accents. But that’s the advantage here of buying a modular – you don’t have to leave these in their normalled behavior. Both sound great; I just wish the Toms had some more control or variety, maybe more a complaint about analog toms generally. (Decay is 370ms – 955ms, which in practice means you don’t touch that knob much.) As set it and forget it modules, though, they’re great.

Hi-Hats D, Cymbals. These are PCM-based, but they’re run through a voltage-controlled amplifier that again have that snappy, aggressive Erica envelope sound. This time, Erica work again with Latvian maker Alfar for their version of the 3330 VCA chip – and then add their “I’m at a sweaty warehouse rave” envelopes to them. (Maybe I’m projecting.) If you leave these normaled and don’t dig into them, they also could go a little vanilla. But there’s a twist on each. The hats module will loop open hi hats, which can almost sound like a unique decay. The cymbals have ten custom crash and ride samples – and combined with CV patching and decay controls, just as with the snare, you can abuse the cymbals module into stuff that sounds nothing like a ride.

Sample Drum. We actually got our Techno System delivered without the Sample Drum, but it’s a worthy module inside or outside this system – a pretty essential implementation of sample playback in a Eurorack format. There is a hole for it in our system… but more than that, the Sample Drum is a place you can augment the unique Erica sound with additional sounds of your own, obviously.

The sequencer acts as heart of the system – with quick-to-access controls by push encoders and buttons, and lots of patch points.

Sequencing and workflow

So that covers sound – and you could actually just pick your favorite modules and drop them into a rack. But the system part of the Techno System is really about combining the sound engine with modulation, mixing, and sequencing in a coherent way.

The Drum Sequencer is normalled to the percussion parts inside the rack, so while you can re-patch triggers, you can very quickly punch up a drum pattern quickly.

Drum Sequencer. One Erica idea I wish I had thought of – the sequencer uses a numeric keypad that feels like a classic IBM keyboard, with LED indicators behind – instant 4×4 grid. No velocity sensitivity, but that’s not really what this brutal machine is about, anyway. Everything else is select-able via some (mostly) intuitive trigger buttons and two push encoders. Once you squint your way through the included manual, you’ll find working is really quick, with all the expected basic figures – set last step per part for basic polyrhythms, set sequence play modes (back/forwards/pingpong/random), copy, mute, and string together multiple patterns.

So far, that sounds like a conventional sequencer, but the Drum Sequencer’s modular side gives you 16 full dedicated triggers, and 12 accents. The accents are really what it’s about when it comes to making more dynamic productions – enough so that Erica even implore you in the documentation not to forget them.

There’s also a dedicated CV/gate track. You can map pitch to one of a set of fixed scales and modes, then dial in or play melodies with gate. That could serve as a melody for the Bassline, or something else. (Sometimes I found myself using the Modulator for the Bassline CV in, instead.)

Erica have also included two LFOs on this module, which augment the LFO outputs on the Modulator module. These LFOs are optionally tempo-synced, so you can quickly generate rhythmic LFOs directly from the sequencer. It’s hidden in some menus behind the encoders.

Having all those triggers makes sense if that’s what you’re looking for from the Drum Sequencer in a larger modular rig, but it feels a little unbalanced in the context of the Techno System. I would gladly sacrifice a few of those sixteen triggers and twelve accents for even one more CV/gate track or another LFO, for instance.

Overall, though, working in this unit is terrifically fast and enjoyable.

Finally, a numeric keyboard for something useful – doing techno instead of doing accounts.

Erica have done a lot with the hardware since its release, too, adding more musical features (like CV slide, gate tie, song mode, auto copy bars, and more), plus tons of fixes. Check the full changelog:

https://www.ericasynths.lv/news/drum-sequencer-update-changelog/

Modulator. This module is totally essential – otherwise you wouldn’t want a modular system like this in the first place. There are two independent LFOs with morphable shape (including noise waveforms) and phase / rise / envelope controls. You can sync them from an external clock – here, that means probably patching the Drum Sequencer into them – in which case the rate controls divide or multiply the clock signal. Or you can run them free, though I long a bit for a switch to give me different ranges. Cleverly there are both outputs and phase-shifted outputs for each LFO, and you can link LFO2 to LFO1 but still use the rate knob as a divider.

Probably the confusing element of this is the triple-function RISE/PHASE control, which determines envelope fall time, and phase shift, and filter cutoff. (Actually, it’s even quadruple-function, since there’s both a lowpass- and highpass-filter.) But in practice, part of the pleasure of those knobs is to stop worrying and experiment, anyway, so they’ve been arranged in a way to encourage some intuition.

Dual Drive. You want more distortion? You get more distortion – three additional flavors of overdrive, in each of two independent circuits, with really flexible patching. If you haven’t gotten it yet, yes, Erica are all about industrial, distorted, concrete-shaking sounds. “Dual” is right, too – if you don’t patch the second input, the two distortions will operate in series. (Hey, dawg, I heard you like distortion…)

Dual FX. This is a wildly powerful effect, but here I do wish we got a small OLED – its power is largely hidden. A push encoder hides different delays (mono/stereo/high-pass), reverb, still another distortion called Ripper, plus a unique dual pitch shifter. There’s also a save function so you can store parameters with each effect. The effect sounds fantastic, but is also fantastically confusing – Erica’s only feedback is in binary on the LEDs.

The Dual FX’s saving grace is that it sounds like some very expensive effects, even though inside is the fairly conventional Spin FV-1 digital chip. And you do get two patchable CV inputs. But I think this particular module is due for some rethinking. That may be partly my own bias – I think the whole point of hardware modular ought to be giving us intuitive hands-on control, not taking away useful visual feedback from digital hardware and software.

Mixers. Rounding out the Techno System are some terrifically useful mixers – and if Erica show off their approach to aggressive envelopes and raunchy sound on that side, here they show they can also make things functional and practical. At first, it seems a bit odd that you get a stereo mixer, a 7-input Drum Mixer, and a 6-input “Mixer Lite.” But in practice, the arrangement adapts itself to a variety of use cases.

The 7-input Drum Mixer neatly pulls together a percussion grouping, with vactrol-based compressor on each for still more punch. And you can send to mains or aux sends. The Mixer Lite gives you more or less the same idea in a more compact 6-input version.

The Stereo Mixer, as advertised, lets you position across a stereo field but also includes flexible routing and internal limiting.

Multiple modules for mixing and routing help you integrate the Techno System with the rest of your studio or live rig.

The result of all of this is, you can easily compose a mix of percussion both when it comes to live performance and production. Actually, maybe it’s telling even that both Jamaica and I liked it. She had a setup that worked well for her largely outboard, hardware-based setup; I had configurations that worked well for composing in the box in the computer and making stems. And when we wanted to jam live, the separate mixers worked well, too.

Really, the only challenge is working out whether you want to rearrange them in the rack, as the mixing component is where you tend to wind up with a bunch of cable spaghetti. So I do wish here Erica had normaled outputs as they did with the sequencer, and then just let you override that behavior.

But at the very least, if it looks like Erica just filled out a rack with every mixer module they make (which honestly was kind of my kneejerk first impression), that’s not the case at all; this grouping makes loads of sense.

The outside world. I expect a lot of people will use this rack alongside a computer, so it’s worth noting: the Drum Sequencer has a MIDI input, which you can use for clock. That saves you a more expensive arrangement. The Link module also provides convenient full-sized jacks which attenuates outbound signal.

In use

A modular system that already has ideas about how it’s going to be used may sound like an anachronism. But in practice, it’s anything but. There’s a natural workflow here. Punch in rhythms on the Drum Sequencer, reroute some accent tracks and triggers to add some spice. Wire the Modulator into FM on the Bassline and dial in unruly timbres, then tune the filter envelope so it’s banging up against the drums. Add drive and effects to the percussion until it sounds dangerous.

Part of what I think makes Erica special is that they come out of a particular context – both engineering and musical. The engineering has grown out of the legacy left behind in one of the USSR’s former major manufacturing hubs, the city where a lot of Communist-era noisemakers were fashioned. And they’ve connected to the grimy, industrial warehouse-friendly music weirdos of the former east, too and … well, all of those of us with similar natural tendencies. They sit at that essential overlap of engineering and sound practice.

So I do recommend getting to hear a Techno System whether or not you’re even going to buy one. The sum of these parts really is something greater – this thing hums and breathes and growls and bangs around and spits out big bursts of noise like clouds of exhaust. Sometimes we wound up recording random accidents that came out when we stopped the transport. This is one of those pieces that feels alive.

While I focused on sound, Jamaica focused on ergonomics. Trouble with repetitive stress makes it hard to use the computer for long periods of time – and even hardware menus can be painful, literally. She says that the Techno System has helped her work more comfortably, and that means more musical productivity.

Conclusions

The Techno System is a luxury item, without question. I am happy that one has taken up residence in our studio. (Thanks, Jamaica.) If you want a complete vision of percussion, modulation, sequencing, and a killer bass, and this is in your budget, it’s a beautiful choice. And of course we’re not in an outrageous price range for something you plan to make an instrument.

Just as important, the Techno System represents a lens on how a modular rig can be coherent, and can offer some new ideas. And it can apply to a popular genre, not just experimental ones.

I also think it’s worth really endorsing some of the modules inside – which proves the idea that a great way to sell individual modules is to give them a larger context. (That’s something Erica has done in a way few others have – other than those largely echoing historical systems.) I wouldn’t mind seeing more of these in desktop form, too, which knowing Erica may be possible.

The Bassline is simply genius. I’d buy a small skiff just to work with it. The Dual Drive also is a convenient way to add signature Erica distortion. And my gripes about programming Dual FX aside, there really isn’t a single dud in the group.

That said, of course working with modular comes at a cost. I think software and desktop systems should continue to push this kinds of hand-on control, but apply modularity that copies this accessibility without the wires. (Yes, they still get tangled and you still wind up with the wrong lengths.)

So can you use cheaper gear, software, non-modular stuff, battery-powered stuff? Of course! And some of us really should keep going that route. What’s comforting about the Techno System is, it proves the modular route is also staking out sound, personality, and utility all its own. It’s not just gear fetish. Whether you buy this rack or not, anyone who loves sound is likely to appreciate the very fact that it exists. And that’s a good sign for our maturing music tech scene.

More videos…

Still want more? Check these:

A terrific sound demo from Erica that really represents the system nicely:

We didn’t yet get to fully test the Sample Drum module that has now been added to the Techno System – but first impressions are great. Here’s a walkthrough:

And while it’s the earlier revision of the rig, you get a full-on extended jam from Erica’s “garage” streaming:

https://www.ericasynths.lv/shop/eurorack-systems/techno-system/

The post Hands on Erica Synths Techno System, dream industrial modular appeared first on CDM Create Digital Music.

The E-mu SP-1200 sampler is getting a reboot: SP 2400

Delivered... Peter Kirn | Scene | Mon 17 Jun 2019 4:10 pm

It’s meant as a “spiritual successor,” say the creators – with both emulation of the classic E-mu sound and new features. But the SP 2400 in preorder still hope to bank off the renown of one of the most popular samplers ever, the genre-defining E-mu SP-1200.

All of this could be a test of the clone craze. Sure, 12-bit lo-fi sound has some real potential for music making. And the E-mu layout, with faders and pads, is accessible.

But at US$949, and only a preorder shipping some time in the winter, the SP 2400 isn’t the most practical choice. You’ve now got plenty of options from KORG, Elektron, Roland (including their wildly popular TR-8S), and even smaller makers like MFB for a grand or less – some of them a fraction of this cost. All of those can be had right now, without dropping hundreds of bucks in June to get something that could take until January or longer. Not to mention we may see a Behringer take on this idea shortly, knowing how that company follows social media.

In a way, then, these sorts of reboots are beginning to become like the remakes of classic cars – a sort of genre all their own. There’s a practicality cost to using these designs, and sometimes a price premium, but if you want something that looks like a classic with some upgraded innards beneath, you’ve got options.

That said, there’s a nice feature set here. I like the idea of the 12-bit/26k mode, though I wonder if they’ve recreated the signature filter sound of the E-mu. And while I’m a bit too skeptical to endorse dropping cash just for half a year of “bi-weekly progress reports … via this website, social media channels, and emails,” it could be worth a look when it arrives.

The main remaining question, then, is how authentic a recreation this is. The E-mu sounds the way that it does not just because of the bit- and sample rate, but the filters and signal path. If sound is really what you’re interested in, then sound is what you have to ask about. Maybe we’ll see that information in the coming updates.

The real draw here is probably that this actually samples – including a looper mode. That’s a feature missing on a lot of current gear.

It’s the creation of ISLA Instruments, who also made the KordBot. I’m curious how people fared with that crowdfunding project and the final result, which would be a great indicator of how to take this one.

I just hope that new ideas get as much attention as reboots of old ones. Heck, I feel that way about TV and movies. It’s obviously summer.

But here are those admittedly rather appealing specs –

• Sturdy 4-piece Steel/Aluminium enclosure.
• Mains Powered 100-250V AC.
• Dual Audio Engine:
12-Bit/26.04khz Lo-Fi Engine (Classic SP Sound) and 24-Bit/48khz Hi-Fi Engine
• Stereo Recording/Playback.
• Channels 1-8 Pannable to Main out L/R Channels 7+8 can be ‘linked’ to support stereo audio content.
• Headphone Output (9-10) w/independant monitoring of channels.
• Dedicated Microphone Pre-Amp.
• Looper Pedal Mode (with full duplex recording/playback).
• Record and overdub live audio during playback.
• USB Host & Device Ports:
Connect usb thumb drives, keyboards, midi controllers directly into the SP2400.

The post The E-mu SP-1200 sampler is getting a reboot: SP 2400 appeared first on CDM Create Digital Music.

The Casio CZ is a huge highlight of Arturia’s V Collection 7

Delivered... Peter Kirn | Scene | Fri 14 Jun 2019 8:50 pm

Arturia’s V Collection 7 continues to expand as the go-to software library of every vintage synth you would ever want. But let’s focus on one new gem: the brilliant CZ-101 remake.

First off, V Collection 7 is worth a look. Arturia keep making their mega-bundle software instrument bundle better. That means both reworking the modeling inside these tools, and adding new features, as well as – of course – continuing to expand the library of available instruments. As modeling has improved, these instruments have gotten more and more like the originals in sound and not just in function and look. At the same time, Arturia keeps beefing up those originals with new features – so the authentic sound engines get new sound design features atop them.

The EMS Synthi V makes an appearance in the new V Collection, too – if your tastes go more 70s than 80s. And it’s a big deal.

Version 7 continues to balance the desires of the casual keyboardist and the obsessive synth sound designer – and everything in between. So if you just want to add a convincing Mellotron or B-3, you’re covered – with an all-new Mellotron and a total ground-up sound engine overhaul for the B-3 V2. Jimmy Smith Strawberry Fields Forever, check and mate.

If the idea of a whole bunch of unfamiliar keyboards and control layouts is unappealing, V Collection 7 also includes the new Analog Lab 4, which consolidates all these things into easy presets and macro controls, and hundreds of new presets in their “Synthopedia.” That way if you do want to look up the way a familiar sound was produced – then tweak it yourself – you can.

Of course, if you read CDM, your favorite preset may be “default template,” and the idea of getting lost for hours in a vintage synth control layout may be the whole selling point. For that crowd, the V Collection 7 adds the EMI Synthi V and the CZ-101 from Casio, circa 1985.

Photo (CC-BY-SA) Neil Vance, via WikiCommons.

The ability to just dial up a menu and say, “do I want an Oberheim SEM or a CS-80” is already pretty crazy, and the number of choices continues to grow. So my approach to V Collection is actually to ignore all those presets – apologies, dear sound designer friends – and try to focus on one instrument. It’s a bit like what you do in a packed studio – you pull out one piece of gear, and say, hey, tonight is going to be about me and this instrument and very little else.

I want to talk about the CZ-101 because it’s long been one of my favorite instruments, and it’s a fairly unsung one. The CZ is somehow too easy, too friendly, too compact, too inexpensive to have the kind of adoration of some of the other 80s and 70s throwbacks. It’s not a collectors’ item. You can still find them at flea makrets. So yeah, Arturia are quick to drop names who have used it, like Salt-N-Pepa and Vince Clarke. But to me the whole appeal of the CZ-101 is that it’s for people who love synths, not people trying to emulate their heroes.

Of course, you could for these reasons go get an actual CZ-101. That means Arturia has to sweeten the deal a bit so the software can compete. They did just that. Let’s dive in.

CZ V reproduces the simple hardware interface (at bottom) but also expands to this view with lots of additional visual feedback and features, at top.

Phase Distortion lovers, rejoice

The original CZ-101 is about two things: a simple front panel layout, and phase distortion. If you just want to drop the CZ into a session as-is, CZ V does that.

Phase distortion synthesis isn’t so much a different synthesis method as it is a compelling way of mucking about with two digital oscillators. It’s easy enough to dismiss PD as Casio’s cheaper, non-patented answer to Yamaha’s DX7 and frequency modulation (FM). But now as we grow more accustomed to digital, non-harmonic timbres, PD is better appreciated on its own terms – as a way of producing unique digital color.

In short, what phase distortion does for you is to add rich harmonic content to sound. It can be a distortion. It can sound something like a resonant filter – in its own way. And because it’s normally using synced oscillators – here’s the important bit – it’s way easier to control than FM generally is.

On the Casio, this allows some unique filtering and sound shaping and distortion sounds that can easily be controlled by macros. And on the Arturia remake, graphical access to envelopes and expanded power means that you can use that shaping creatively.

The CZ V kind of goes a bit nuts versus what an original CZ-101 would give you. Let’s compare 1985 and 2019.

Arturia’s effects mean you don’t have to listen to the CZ dry.

The modulation matrix makes this feel as much modern soft synth as 1980s hardware.

The original oscillators are there – sine, saw, square, pulse, resonance, double-sine, saw-pulse – as are the 8-stage envelope generators and vibrato and LFOs. You can even import SysEx from the original. But being able to program these features on a display makes sound design accessible.

In addition to making hidden CZ features more visible, Arturia have expanded what’s possible:

  • 32-voice polyphony (the original had just 8).
  • A modulation matrix – no, really.
  • More modulation: a Sample and Hold module, 2 LFOs with 6 waveforms, 3 sources combinators and an Arpeggiator
  • New effects – while an authentic approach to the CZ might leave it dry, now you get all the Arturia multi-effects (adding things like chorus and reverb sound especially nice, for instance)

There’s visual feedback for everything, too.

Where the CZ fits in

In some ways, the CZ-101 is weirdly going from dated 80s thrift store find to … ahead of its time? After all, we’re seeing modular makers embrace these kinds of digital oscillator effects, and phase and phase distortion even inspired the upcoming sequel to Native Instruments’ Massive, the new Massive X.

Envelope editing is powerful – and includes animated visual feedback.

The CZ architecture is uniquely suited to making a lot of different sounds – including percussion and modulating timbres and edgy digital business – with a minimum of resources. So there’s a noise source built-in. You can modulate with the noise source. There’s ring modulation.

Using the CZ, DADSR, and multi-segment envelopes, you can them sculpt those percussive and metallic timbres over time – including using the DCW (Digitally Controlled Waveform) envelope that morphs between a sine wave and distorted wave.

The reason I’m using the CZ V to talk about the new V Collection edition, though, is that it’s an instrument where it feels like Arturia’s authentic side matches up with the “vintage on steroids” additions. So, by the time you have something like the new Synthi, you’re already presented with tons of sound design possibilities. Arturia has added some amazing ideas there – a step sequencer, a beat-synced LFO, plus onboard effects, atop all the new graphical options for working with envelopes and modulation.

The thing is, on a Synthi, that starts to feel like too much. I almost was tempted with the Synthi to force myself not to expand the tab full of new stuff. If I want an open-ended sound environment on a computer, I can use Reaktor, not try to recreate a 1970s take on the idea.

On the Arturia edition of the Casio, though, all these additions help the CZ graduate from fun toy to serious sound design tool. The visual envelopes make more sense. Effects are something most CZ owners invested in anyway. And more polyphony means you can run one instance and do a lot with it. Heck, even the matrix is easier to follow than on the original EMS Synthi because the architecture of the CZ-101 is so straightforward. In other words, because the original did less, it’s both a good match for software remake and for some thoughtful additions – which Arturia delivers.

Check these templates for an easy way to get started making your own sounds.

Here’s a little sketch I made with this. This is all one patch – noise and ring modulation and layering the ring source, plus some DCW and pitch envelope use, are what generate all those sounds. I added Arturia’s Trid-A Pre and some reverb from Softube’s TSAR-1 Reverb and … that was it.

More on the products:

V Collection 7

CZ V

The post The Casio CZ is a huge highlight of Arturia’s V Collection 7 appeared first on CDM Create Digital Music.

Here’s what Polyend’s Medusa can sound like

Delivered... Peter Kirn | Scene | Fri 14 Jun 2019 12:34 pm

By laying out faders, encoders, displays, and an 8×8 expressive grid, Polyend hopes you’ll play their Medusa’s synths sounds. So here’s some sound of what was going on in my studio.

Here’s a live jam, just getting a bit lost in the Medusa world:

It’s not really a demo so much as me enjoying what the instrument can do. Because they’re new, we rely on musical performance of instruments. But that’s not to say it’s obvious how to do so. We “demo” an instrument – even though we’d never expect to “demo” a violin (not any more, anyway).

A few features stand out to me as useful to play, which you’ll see getting some use:

  • Swapping and modulating wavetables: this was recently expanded with a bunch of additional wavetable sources; there’s a particular character to the Medusa offerings that I really enjoy
  • Grid Mode: this lets you sequence and even ‘play’ different parameters stored in each individual grid
  • Different internal scale modes (no custom scales/tunings or Scala support yet, though there’s a nice scale/mode assortment, and you can set custom tunings in Grid Mode by manually tuning them in)
  • Envelopes and modulation: obviously, this adds additional motion in the music; what sets the Medusa apart is on-the-fly assignment, which you can think of as a digital equivalent to patching cables
  • FM adjustment – well, just because this can sound wild, as frequency modulation does (both on the filter and oscillators)
  • Mixing oscillators: with three digital + three analog + noise source, you can add and subtract layers in the sound via the faders

I also went ahead and added some effects and an extended version of this live set:

The first recording is dry apart from some very very light plate reverb and compression. The SoundCloud upload includes my favorite Eventide effects – Ultratap [multitap delay], Omnipressor [compressor], Blackhole [reverb].

Here’s a more straightforward play with the different oscillators and basic voice structure:

And, of course, be sure to read the full review:

Beneath Polyend Medusa grid and knobs, a wealth of possibilities

https://polyend.com/medusa/

The post Here’s what Polyend’s Medusa can sound like appeared first on CDM Create Digital Music.

Logic Pro X 10.4.5 is all about huge projects, with or without a Mac Pro

Delivered... Peter Kirn | Scene | Thu 13 Jun 2019 11:34 pm

Logic Pro X 10.4.5, seen onstage at WWDC, is now available. And yes, it supports the new ultra-high-end Mac Pro – but there are fixes and performance optimizations for everyone, with or without new machines.

10.4.5 looks like the most pro-oriented Logic Pro in a long time. Apple has been aggressive with its update cadence for Logic for years running now, even with free upgrades, and this version is no exception.

This release also marks the end of the road for Mac OS X 10.12 Sierra. The new minimum OS requirement is 10.13.16 High Sierra. (Mojave is seeming stable these days, and it’s summertime, so maybe now is a good time to do a full backup and take the plunge.)

First up – yes, the banner feature from Apple’s perspective is that the new Logic runs on the new Mac Pro. Under the hood, that means support for up to 56 cores, the kind of massive multiprocessing the new Mac Pro can do.

The use case for this kind of processing power is slim, but then, that’s what the ‘pro’ concept is all about. Doing artist relations, you may have a film composer with advanced technical needs and a shelf full of Academy Awards. Even one user in your user base can be critical.

That said, I think the real story here is that Apple is shaking the tree across the whole code base – meaning these performance optimizations and fixes could benefit you even if you’re running on a beat-up older MacBook, too.

So, think really big track counts – which could be meaningful since even some mid-range CPUs can theoretically churn through a lot of tracks, to say nothing of that shiny Mac Pro tower.

Increased Number of Tracks and Channels, up to:
1000 stereo audio channel strips
1000 software instrument channel strips
1000 auxiliary channel strips
1000 external MIDI tracks
12 sends per channel strip

Way back around 2006, I heard from a Macworld reader complaining about lifting exactly these limitations and how I didn’t mention them in a review. (See above: that one user thing.)

There’s a bunch of other new features that are serious DAW improvements – and almost no mention mention of any fictional artificial drummers.

An all-new DeEsser 2 plug-in

16 ports of MIDI clock, MTC, and MMC from Logic – yeah, expect to see a Mac Pro in broadcast/film/TV applications running audio

Mixer configuration can be set to your own user-definable defaults (huge time saver there, finally)

A clever automatic duplicate erase when you’re merging MIDI recordings

And some new keyboard shortcuts to save you time when editing:

  • Option + Shift while rubber-band selecting in the Piano Roll: new time Handles selection.
  • Option-click track on/off button: loads/unloads the plug-ins on the channel strip (wow, easy A/B!)
  • Shift-double-click Tracks background: start playback from that position.

And for the “I have an old beat-up MacBook you can pry out of my dead fingers” crowd – finally Freeze works the way it should. (How many of you were desperately freezing tracks while cursing Logic as the CPU meter refused to go down?) From the release notes:

“Freezing a track now unloads its plug-ins to free up resources.”

There are also fixes and performance optimizations and workflow and display improvements throughout. As you’d expect, fixes are concentrated on newer features – Smart Tempo, ARA, Flex, and the like.

So you don’t get any earth-shaking new features unless you’re really into de-essing, but what you do get is some evidence the Apple engineers are working through their log of stuff.

Logic Pro X 10.4 release notes (Apple support, 10.4.5 stuff is right up top)

Full disclosure: I will now this week refresh my MacBook Pro’s OS and then Logic release.

Hey, say what you will about Apple, but Logic Pro these days is pretty accessible from a user experience perspective. There’s some powerful and numerous competitors that either fail that ease of use test or that simply lack features you need to get big jobs done in scoring and the like. Maddeningly, a lot get the ease right but lack features, or have insanely powerful features but demand you contort your brain to use them. (Once upon a time, an earlier version of Logic was also far harder to use.)

I know from CDM’s own site stats and plenty of anecdotal evidence that all this matters to music makers. It’s not just Apple brand loyalty that makes Logic last.

The post Logic Pro X 10.4.5 is all about huge projects, with or without a Mac Pro appeared first on CDM Create Digital Music.

Beneath Polyend Medusa grid and knobs, a wealth of possibilities

Delivered... Peter Kirn | Scene | Thu 13 Jun 2019 5:12 pm

It’s an analog-wavetable polysynth with an expressive grid – but that only begins to describe what makes the Polyend Medusa such a unique instrument. Here’s a deep dive into this hybrid synthesizer and what it means musically.

A year after its public debut, the Polyend-Dreadbox collaboration Medusa hybrid synth has gotten a flurry of updates expanding its capabilities. The Medusa caught my eye when it was previewed at last year’s Superbooth extravaganza in Berlin – and has since reappeared full of refined functionality at this year’s edition. The instrument combines Polyend’s expressive grid with a gnarly synthesizer made in collaboration with Dreadbox. So you get a hybrid analog-digital sound engine, which you can use in monophonic or one of two polyphonic modes, and a grid you can use for performance or sequencing.

That description seems obvious and straightforward, but it also doesn’t really fully describe what this thing is. It’s really about the combination of elements. The synth engine gets delightfully grimy – the Dreadbox filter can really scream, especially paired with frequency modulation. And the digital oscillators (from Polyend) stack to give you metallic edge and wavetable madness atop a thick 3-oscillator analog beast. The copious modulation and multiple envelopes provide loads of sound design possibilities, too – you can really go deep with this, since basically everything is assignable to LFOs or envelopes. (That’d be a lot of rack space to get this many oscillators and modulation sources in a Eurorack form.) Combining digital control and wavetables with Dreadbox-supplied analog grunge make this as much an all-in-one studio as a polysynth.

What really binds this together for me, though, is using the grid to make this more like an instrument. You can lock parameters and scales to steps in the sequencer, and then use elaborate scale mappings and expression options to put sounds beneath your fingertips. This isn’t about menus, but it’s also unlike conventional keyboard synths. The grid and one-press modulation and envelope assignment make the Medusa a portal to sound design, composition, and performance.

The workflow then fits spatially. On your right, you can sculpt sounds and (thanks to a recent update) make on-the-fly assignments of modulation and envelopes with just one press. On your left, the grid can be configured for sequencing and playing. Mix oscillators and shape envelopes and dial modulation live atop that. You can also use the sequencer as a kind of sketchpad for ideas, since sequences are saved with presets.

All of this comes in a long, metal case with MIDI I/O and external audio input. Even the form factor suggests this is an instrument you focus on directly. So whatever you do in sound design should naturally translate to sequencing and playing live.

Here’s the basic approach to sound design workflow – dialing in and layering different analog and digital oscillators, playing with wavetables, shaping envelopes and filter, adding FM (including on the filter), and assigning modulation. Improvised / no talking:

Let’s look at those components individually (now with some of the recent firmware updates in place):

The synth

On the synth side, the Medusa has a hybrid 3+3 structure – three analog oscillators, plus three digital oscillators, for a total of six. (There’s an additional noise source, as well, with adjustable color.) To that, you add a filter derived from the Dreadbox Erebus (highpass, 2-pole lowpass, and 4-pole lowpass). There are two fixed envelopes (filter and amplitude), plus three more assignable envelopes. You also get five (!) assignable LFOs. That’s just enough to be readily accessible, but also focused enough that it neatly structures your use of the onboard controls and assignable modulation and sequencing.

The idea is to mix analog + digital + noise in different combinations, which you can layer as monophonic lines or chords, or trigger in turn, with always-accessible mixer controls for each voice + noise.

Oscillator controls. The oscillator section does double duty as analog and digital, so you’ll need to understand how those relate. To save space, there’s a button in the oscillator section labeled DIGITAL.

With digital mode off (analog mode), you get control over the three analog oscillators, plus a pulse width control, and a frequency modulation control for FM between oscillators 1 and 2. You can select ramp, PWM, triangle, and sine waves for each oscillator. You can also hard sync oscillators – 1+2 (sync 2) and 2+3 (sync 3). Note that you will need to give the Medusa some warmup time for these analog oscillators to be in tune; there’s also automated calibration to tune up.

With the digital mode on, you control the three digital oscillators, and get a wavetable shape in addition to the four wave shapes, plus a wavetable control that modulates between different wavetables. (There’s no FM between oscillators 1 and 2, and you don’t get the pulse width control for the digital oscillators – which in the end doesn’t matter much given all the wavetable options.)

The other controls are doubled up to save space, as well. Instead of dedicated macro and fine tuning, there’s a FINETUNE switch. The FM knob has two functions, also via switches.

Modulation. There’s more modulation than you’ll likely ever need, between the sequencer steps, five envelopes, and five LFOs. Since there’s only one set of encoders and sliders, you choose which envelope or LFO you want to target. You can toggle that modulation on and off by double-pressing the controls for each.

The latest firmware adds on-the-fly parameter assignment, so you can simply hold down an envelope or LFO, then twist the parameter you want to target. That’s much more fun than scrolling through menus.

Sound design is a blast, but there’s some room for growth, too. LFO shapes morph between square, sine, ramp, and triangle, but there’s no random or sample & hold option, which seems an obvious future addition. Also, it could be nice, I think, to have different wavetables on different oscillators, or separate wavetable position controls. (At least for now, you can set LFOs to target all wavetables or just one wavetable when modulating position, so you can separately modulate the three digital oscillators if you wish.)

Now, you can assign both modulation and envelopes with just one tap, on the fly. With multiple envelopes and LFOs, combined with the sequencer, there’s plenty of choice for composition and sound design.

FM can be applied to the filter and between analog oscillators 1+2.

Musical ideas: synth

Use envelopes and modulation. Envelopes have free-flowing timing, but can each be (independently) looped, creating subtle or rhythmic modulation. And LFOs can be either free or clock-synced. With these two features in concert, you can create both shifting timbres and rhythmic patterns – while assigning them hands-on, rather than diving into menus. (That can be even faster than working with patch cords.)

Work with the different polyphonic modes. Mono play mode stacks all six oscillators onto a single voice, which is great for thick sounds. But the two polyphonic modes offer some unique features. P1 is three-voice polyphonic, with two oscillators per voice. P2 is six-voice polyphonic, and has one amp envelope for each of the six voices.

Change voice priority. In CONFIG > Voice Priority, you can set P1 and P2 from “First” to “Next,” and each trigger will rotate through each of the available oscillators. Remember with P2, that means you have separate envelopes. So you can retrigger the same pitch, or “strum” or roll a chord, or create rhythmic variations… it all makes for some lively variations.

Self-oscillate the filter with tracking. If you turn up resonance and crank TRACK on the filter, you’ll get self-oscillation that’s mapped to the pitch range. (You’ll probably want to turn down master volume here; I don’t yet have a trick for that, but you could also save lower oscillator mixer values with a preset.)

Go mad with FM. Frequency modulating the OSC 1+2 combination can create some wild ring mod-style effects as you play with different octave ranges and tunings.

The sequencer

I think one confusion about the Medusa is, because people see an 8×8 grid of pads, they assume the main function is sequencing. That’s really not how to think of the Medusa pad matrix – it’s better to imagine it as a performance and editing interface as much as a sequencer, and to see ambient/drone/non-metric possibilities along with the usual things you’d expect of an 8×8 layout.

Sequences themselves have a length from 1 and 64 steps. (Yes, with a 1-step sequence, you get basically a repeat function, and with a few steps, a sort of fixed phrase arpeggiator – more on how you’d play that live below.) Steps are fixed rhythm, with no sub-steps – I do wish there were a way to clock divide step length from the master tempo, or add subdivisions of a step, or even control step timing individually. For now, if you want that, you’ll need to do it externally, via MIDI.

You can set tempo from 10-300 bpm or use an external clock source. And you get control for swing, plus different sequence playback directions (forward, backward, ping pong, and random).

In NOTES mode, you enter pitch. With REC enabled but not PLAY, you can enter and edit steps one at a time. (Pressing a pad creates a pitch, rather than sets a step, so you’d use the big menu encoder to the right of the pads to dial through steps.) With PLAY enabled, you can live record, though everything is still quantized to the step.

The pitch and rhythm stuff is a bit basic, but it’s the GRID mode where the Medusa shines. There, you can set specific steps to contain parameter data. Again, this works in both step and live modes – in live modes, you’ll overwrite parameter data as you move a control. This is what some sequencers call “p-locks” / parameter locks, but here the workflow is different. You can stop the transport, and manually tweak parameters while holding a pad to modify parameters for that step. This means an individual step may contain a whole bunch of layered information.

At first, it may seem counter-intuitive to separate notes and parameter data on two different screens, but it opens up some new possibilities. You can step-sequence really elaborate sequences of timbral changes. Or – here’s the interesting one – you can trigger different presets as your sequence plays. That lets you ‘perform’ the presets – play with the timbres – the way you normally would with notes.

Not only do you have a powerful step sequencer page dedicated to parameter control, you can think of presets as something you can play live. I don’t know of another sequencer that works quite like this.

Musical ideas: sequencer

Trigger play modes, voice priority, sequence length live: With a sequence playing, it’s possible to toggle play modes (between unison and polyphony), and the Voice Priority setting (first or last, in either of the polyphonic modes), and sequence length, all live without impact sequenced playback. So you can have some fun messing about with these settings.

Use GRID for variation. The sequencer only triggers preset changes when the GRID mode is enabled. So you can start a sequence, then toggle your sequenced parameters on and off by switching GRID mode on and off. (You can combine this with live-triggered parameters – more on that below.)

Glide! Combining glide with the polyphonic modes (and adjusting the amplitude envelope, particularly Release as needed) will create some lovely, overlapping portamento effects.

Arpeggiate/transpose. You can now press HOLD + a pad to transpose a sequence live as it plays. With short sequences, this can be a bit like running an arpeggiator or phrase sequencer.

Performance pads

If you just use the pads as a sequencer, you’re really missing half the power of the instrument. The pads also work for playing live, with the option of up to three axis additional expression (z-axis pressure, and x- and y- position). The pads are also low-profile, so you can easily strum your fingers across pads.

Three-axis control can be a little confusing. Only the last pad adds modulation, and it takes a bit of muscle memory to get used to modulating with just the last finger press if you’re playing in a polyphonic context. But the pads are nicely sensitive; I hope there’s the possibility of polyphonic expression internally in future.

As an external controller, Medusa does support an MPE mode, so you can use this – like the Roger Linn Linnstrument – as an MPE controller with compatible devices.

The grid in general is expressive and inspiring. In particular, you might try one of the 40 included scales, which include various exotic options apart from the usual church modes. I especially like the Japanese and Engimatic options. You can also change not only the scale but the layout (the relationship of notes on the pads).

Musical ideas: pads

Drone mode. Use HOLD to trigger multiple up to six at a time and drone away (press HOLD, then toggle on and off individual notes). And again, this is also interesting with different polyphonic modes and glide. You can also use, for instance, the Z-axis pressure to add additional modulation as you drone. (One confusing thing about X/Y/Z and HOLD – since only the last trigger uses the X/Y/Z modulation, it can get a bit strange additionally toggling off that step as you hold. I’m working on whether there’s a better solution there.)

Use GRID for triggering: With GRID instead of notes, you can use individual pads to trigger different sounds, or even map an ensemble of sounds (setting up particular pads for percussion, and others for melody, for instance). This also opens up other features, like:

DIY scales. A new feature of the Medusa firmware adds the ability to store pitch in pads, and thus make custom scales. Turn GRID on, and REC, then with FINETUNE on, you can use the oscillator to tune a custom scale, including with microtuning. I’d love to see custom scale modes or Scala support, but this in the meantime has a beautiful analog feel to it.

Bend it: You can bend between notes by targeting Pitch with the x-axis. To keep that range manageable and slide between notes, I suggest a value of just 1 or 2 (instead of the full 100, which will slide over the whole pitch range as you wiggle your finger). You might also consider adding the same on the y-axis, since it is a grid.

Trigger expression. Not only can you trigger modulation live over a sequence in GRID mode, you can also use those triggers to modulate X, Y, and Z targets of your choice as a sequence plays. You can also try modulating expression in NOTES mode over a playing sequence.

Use external control. You can also map to external MIDI aftertouch, pitch, and mod, which opens up novel external or even DIY controllers. (You could connect a LEAP Motion or something if you want to get creative. Or combine a keyboard and the grid, for some wild possibilities)

Conclusions

Medusa takes a little time to get into, as you start to feel comfortable with the sound engine, and adapting to a new way of thinking about the pads – as performance controller plus separate note and parameter sequencer. Once you do, though, I think you begin to get into this as an instrument – one with rich and sometimes wild sound capabilities, always beneath your fingertips.

The result is something that’s really unique and creative. The combination of that edgy, deep digital+analog sound engine with the superb Dreadbox filter, plus all this modulation and sequencing and performance possibility makes the whole feel like a particular instrument – something you want to learn to play.

I really have fallen in love with it as a special instrument in that way. And I find I am really wanting to practice it, both as sound designer and instrumentalist.

At 999EUR, it also holds up against some other fine polysynth choices from Dave Smith, Novation, KORG, and most recently, Elektron. Most importantly, it’s unlike any of those tools, both with its unique and expressive controller and its copious controls and access to sound.

The presence of an instrument like this from a boutique maker, charting some new territory and in a desktop form factor and not only a set of modules, seems a promising sign for synth innovation.

http://polyend.com/medusa/

The post Beneath Polyend Medusa grid and knobs, a wealth of possibilities appeared first on CDM Create Digital Music.

It’s 606 day – remember when Roland made a drum machine like a 303?

Delivered... Peter Kirn | Scene | Thu 6 Jun 2019 4:13 pm

808 day, sure. But let’s pause for 606 day – the logical anniversary of the 1982 TR-606, a drum machine squeezed inside a tiny enclosure that looks like a 303 but isn’t. It’s the lesser known runt of the Roland family, and you kind of love it for that alone.

If you think about it, the 606 was way ahead of its time. Now selling customers on buying a little bass machine, then buying a little drum machine to go with it is par for the course. But in the early 80s, the music that would make the 303 and even the 606 desirable … hadn’t been made yet.

Why 606?

The TR-606 is certainly simple. It’s got all analog circuitry inside, for seven parts – kick, snare, two toms, open and closed hats, cymbal. There’s an accent control. It isn’t the most sought-after sound of the TR series, by any stretch, but now that you’ve heard way too many 808 and 909 hats, you might appreciate this just for some variety.

It can trigger other gear. It’s got accent. It was designed so you could chain 606 models together. So it’s not a terrible little machine. And it is – I’ll stand by this – the cutest drum machine Roland ever made. (I have to admit, I just went back to my boutique TR-09 this week and had a blast. Sometimes getting something tiny and restricted is oddly inspiring. An itsy bitsy teenie weenie silver TR drum machine-y?)

It’s famous, and yet mercifully no one has ever called it iconic. It just is what it is. Here’s Tatsuya of KORG fame giving it a one-over – as he should, as nothing channels the spirit of the 606 (even from Roland) quite like the entry of the KORG volca series he helmed:

And here’s Reverb.com giving it the once over:

The 606 has been in some great music – Aphex Twin, Nine Inch Nails, Autechre, Orbital, plus one favorite artist that shares its name – Kid606. Moby I think also used one, probably in that spell when he and I were dating that he doesn’t like to talk about. (Man, did that beetroot smoothie we shared together while programming 606 patterns mean nothing to you? Nothing?!)

It’s also been heavily modded and copied. It’s a reminder, basically, that drum machines need not look like a truck. They can be a funny sidecar you can easily squeeze into spaces where no one else can parallel park. When people talked about buying unloved Roland drum machines for $50 in pawn shops in the 80s – the TR-606 was one likely candidate. This was one of the machines cheap enough to enable people without cash to change music.

You know the sound. Because it was tinnier than the 808 and 909, the 606 often stood in when someone wanted something with an even thinner Roland sound.

Put that sound with the 303, and you really do get a combo that makes sense.

Bonus – this bit. You can swap between PLAY and WRITE pattern modes while the TR-606 is running – so you can edit as a pattern is playing. The other TRs would ideally work that way, but they don’t.

Here’s a guide to the controls:

Samples and software

There have been numerous software recreations, too, like this iOS app mR-606:

Or this one, which also runs on iPad:

EGDR606 Drum Machine

Most famously of all, there is Propellerhead’s ReBirth, which cloned the 303 and 606 and launched, arguably, the entire electronic dance music production revolution on computers. Roland must have taken note, because they convinced Propellerhead to remove the iPad port. (Okay, that was probably more about the TB-303. But still.) If you’re ambitious, you can still run ReBirth on recent Windows versions, with some effort.

And here’s a free sample set:

http://www.rolandclan.com/library/tr-606/

Samples From Mars also have a sale on their much broader sample library, which resamples the 606 through various gear. Check it:

https://samplesfrommars.com/products/606-from-mars

Adverts

It may not have translated into sales, but Roland had a slick presentation for its 1982 product line.

Check out those specs:

Dear advertisers – please create stuff like this, which is what people saw if they flipped open a glossy issues of Keyboard Magazine in 1982:

Source: https://retrosynthads.blogspot.com/2010/08/roland-tb-303-and-tr-606-keyboard-1982.html

And yes, Roland at various times has brought this back in … strange ways, like on the SP-606 which really … has nothing to do with the TR-606. But here it is, because D-Beam! It’s also been spotted inside the recent recreations like the TR-8S and even the Serato-collaboration DJ controllers.

Image at top:

Roland TR-606

The post It’s 606 day – remember when Roland made a drum machine like a 303? appeared first on CDM Create Digital Music.

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