Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » mobile


Playdate is an indie game handheld with a crank from Teenage Engineering, Panic

Delivered... Peter Kirn | Scene | Thu 23 May 2019 9:08 pm

Playdate is a Game Boy-ish gaming handheld with a hand crank on it, wired for delivering indie and experimental games weekly. And it comes from an unlikely collaboration: Mac/iOS developer Panic with synth maker Teenage Engineering.

Yes, that svelte retro industrial look and unmistakable hand crank are the influence of prolific Swedish game house Teenage Engineering. And TE have already demonstrated their love of cranks on their synths, the OP-1 and OP-Z.

This isn’t a Teenage Engineering product, though – and here’s the even more surprising part. The handheld hardware comes from Panic, the long-time Mac and iOS developer. I’ve been a Panic owner over the years, having used their FTP and Web dev products early on in CDM’s life, as did a couple of my designers, and even messing around with Mac icons obsessively back in the day.

But now Panic are doing games – the spooky Wyoming mystery Firewatch, which has earned them some real street cred, and an upcoming thing with a goose.

The really interesting twist here is that the “Playdate” title is a reference to games that appear weekly. And this is where I might imagine this whole thing dovetailing with music. I mean, first, music and indie games naturally go hand in hand, and from the very start of CDM, the game community have been into strange music stuff.

The obvious crossover at some point would be some unusual music games and without question some kind of music creation tool – like nanoloop or LittleGPTracker. nanoloop got its own handheld iteration recently – see below – but this would be a natural hardware platform too.

Even barring that, though, I imagine some dovetailing audiences for this. And it does look cute.

Specs:
400×240 (that’s way more resolution than the original Game Boy), black and white screen
No backlight (okay, so kind of a pain for handheld chip music performance)
Built-in speaker (a little one)
D-pad, A and B switches
USB-C connector
… and it looks like there is a headphone jack

Not sure what the buttons on top and next to the display do – power and lock, maybe?

Involved game designers are tantalizing, too – and have some interesting music connections:

Keita Takahashi (Katamari Damacy)

Zach Gage (SpellTower, Ridiculous Fishing)

Bennett Foddy (QWOP, Getting Over It with Bennett Foddy, and – music lead again, he was the bassist in Cut Copy, remember them?)

Shaun Inman (also a game composer, as well as a designer of Retro Game Crunch, The Last Rocket, Flip’s Escape, etc.)

This takes me back to that one time I hosted a one-button game exhibition at GDC (the game developer conference) with Kokoromi, the Montreal game collective. That has accessibility implications, too, including for music. (Flashback to their game showcase at the same time.) So there is crossover here, I mean – and intersecting interests between composers and game designers, too.

US$149 will buy you the console and a 12 game subscription. Coming early 2020.

Music connections or no, it looks like a toy we’ll want to have.

https://play.date/

EDGE, the print mag, has an exclusive – with an excerpt of that feature online:

https://play.date/edge/

Thanks to Oliver Chesler for the tip.

Obvious marketing campaign, though only for Panic wanting to market to Americans of my age or so…

The post Playdate is an indie game handheld with a crank from Teenage Engineering, Panic appeared first on CDM Create Digital Music.

Turn your iPad or iPhone into a scriptable MIDI tool with Mozaic

Delivered... Peter Kirn | Scene | Mon 20 May 2019 6:07 pm

Its creator describes it as a “workshop in a plug-in.” Mozaic lets you turn your iOS device into a MIDI filter/controller that does whatever you want – a toolkit for making your own MIDI gadgets.

Oh yeah and it’s just US$6.99, which is absurd but awesome.

The beauty of this, of course, is that you can have whatever tools you want without having to wait for someone else to make them for you. Developer Bram Bos has been an innovator in music software for years – he created one of the first drum machines, among some ground-breaking (and sometimes weird) plug-ins, and now is one of the more accomplished iOS developers. So you can vouch for the quality of this one. It might move my iPad Pro back into must-have territory.

Bram writes to CDM that he thought this kind of DIY plug-in could let you make what you need:

“I noticed there is a lot of demand for MIDI filters and plugins (such as Rozeta) in the mobile music world,” he says,”especially with the rising popularity of DAW-less, modular plugin-based jamming and music making. Much of this demand is highly specific and difficult to satisfy with general purpose apps. So I decided to make it easier for people to create such plugins themselves.”

You get ready-to-use LFOs, graphic interface layouts, musical scales, random generators, and “a very easy-to-learn, easy-to-read script language.” And yeah, don’t be afraid, first-time programmers, Bram says: “I’ve designed the language from the ground up to be as accessible and readable as possible.”

To get you started, you’ll find example scripts and modular-style filters, and a big preset collection – with more coming, in response to your requests, Bram tells us. There’s a programming manual, meant both to get beginners going in as friendly a way as possible, and to give more advanced scripters and in-depth guide. And you get plenty of real-world examples.

There are some things you can do with your iOS gadget that you can’t do with most MIDI gadgets, too – like map your tilt sensors to MIDI.

This is an AUv3-compatible plug-in so you can use it in hosts like AUM, ApeMatrix, Cubasis, Nanostudio 2, Audiobus 3, and the like.

Full description/specs:

Mozaic runs inside your favorite AU MIDI host, and gives you practical building blocks such as LFOs, pre-fab GUI layouts, musical scales, AUv3 support (with AU Parameters, transport events, tempo syncing, etc.), random generators and a super-simple yet powerful script language. Mozaic even offers quick access to your device’s Tilt Sensors for expressive interaction concepts!

The Mozaic Script language is designed from the ground up to be the easiest and most flexible MIDI language on iOS. A language by creatives, for creatives. You’ll only need to write a few lines of script to achieve impressive things – or to create that uber-specific thing that was missing from your MIDI setup.

Check out the Programming Manual on Ruismaker.com to learn about the script language and to get inspiration for awesome scripts of your own.

Mozaic comes with a sizable collection of tutorials and pre-made scripts which you can use out of the box, or which can be a starting point for your own plugin adventures.

Features in a nutshell:

– Easy to learn Mozaic Script language: easy to learn, easy to read
– Sample-accurate-everything: the tightest MIDI timing possible
– Built-in script editor with code-completion, syntax hints, etc.
– 5 immediately usable GUI layouts, with knobs, sliders, pads, etc.
– In-depth, helpful programming manual available on Ruismaker.com
– Easy access to LFOs, scales, MIDI I/O, AU parameters, timers
– AUv3; so you’ll get multi-instance, state-saving, tempo sync and resource efficiency out of the box

Mozaic opens up the world of creative MIDI plugins to anyone willing to put in a few hours and a hot beverage or two.

Practical notes:
– Mozaic requires a plugin host with support for AUv3 MIDI plugins (AUM, ApeMatrix, Cubasis, Auria, Audiobus 3, etc.)
– The standalone mode of Mozaic lets you edit, test and export projects, but for MIDI connections you need to run it inside an AUv3 MIDI host
– MIDI is not sound; Mozaic on its own does not make noise… so bring your own synths, drum machines and other instruments!
– AUv3 MIDI requires iOS11 or higher

With some other MIDI controllers looking long in the tooth, and Liine’s Lemur also getting up in years, I wonder if this might not be the foundation for a universal controller/utility for music. So, yeah, I’d love to see some more touch-savvy widgets, OSC, and even Android support if this catches on. Now go forth, readers, and help it catch on!

Mozaic on the iTunes App Store

http://ruismaker.com/

The post Turn your iPad or iPhone into a scriptable MIDI tool with Mozaic appeared first on CDM Create Digital Music.

Polyend puts presets in your modular – plus run on a battery, anywhere

Delivered... Peter Kirn | Scene | Mon 13 May 2019 6:09 pm

Hey, modulars are great. But you can’t call up presets at will, like on a computer. And you can’t head for a day of patching to the shore of your local lake. Or – can you? The folks at Polish maker Polyend are breaking the rules.

I think these are devilishly clever ideas – and there’s certainly some devilishly clever marketing.

Centralized encoders, grids for saving and recall, sequenced presets, an LFO, gesture recording – this unit does a lot.

Presets on a modular

First up: Polyend Preset. Okay, it’s not quite preset storage for your modular – you can’t sample the voltage level of other patch cords, so you’re going to have to remember some of how you patched together a sound. But Polyend have made a matrix of knobs and pads that gives you full nine different outputs. The encoders have variable RGB lighting for UI feedback and for checking values, and that’s paired with Polyend’s signature pads. It all looks ideal for live performance.

Here’s the workflow: you consolidate the parameters you want to control, save, and recall on Polyend’s own module. That gives you a centralized command station for tweaking all the rest of your modular rig. You have 9 CV outs – one of which is also an LFO. And you can restore and recall values. You could use that to save particular sounds as you’re working, or to set up a setlist of patches to play live. Or you could also ‘play’ those different values from the pads, or even sequence them (internally, or driven by external CV).

You choose continuous CV, scaled musical pitches, gate, or on the ninth encoder, LFO. Specs:

9 CV outs
1V/Oct, 0-10V, or gate output
32 onboard musical scales
Phrase automation – record and send out voltage changes – each output has up to 30 seconds recording
Instant preset recall (so you can play the grid, too)
Sequence from external gate / 0-10V

Hey readers – does anyone remember an April Fools joke about a year ago that featured ‘preset storing’ patch cables? It was a funny idea, even if it was obviously a joke. Looked for the video and couldn’t find it. And this is… kinda sorta that.

Okay, summertime, looks like we’ll have some modular in the park. Everything is running off that little power bank you see with the USB cable popping out of it.

Into the woods

Polyed Anywhere is also great stuff – it’s a simple power supply module with a USB input, to which you can connect a 20,000 mAh battery for modular busking, open air synthing, seaside noodling, whatever. (They were using this at the show.)

Future shot some video of these two together:

And a new Poly

Poly 2 is the latest version of their MIDI to CV converter. Trigger 8 voices, use Gate, V/Oct or Hz/V for pitch that works with anything, velocity, CC, and clock – and now it’s also got Smart Thru for daisy chaining, more onboard musical scales, and crucially, MPE compatibility. This isn’t the only game in town – we need some comparison to offerings from Expert Sleepers and Bastl – but it’s certainly one of the more capable.

I’m still most excited about Polyend’s desktop polysynth, though, not modular – stay tuned for that review this week, as Medusa holds up nicely even against the latest polysynths revealed this week.

No updates on the Polyend site as I write this, but check them out:

http://polyend.com

The post Polyend puts presets in your modular – plus run on a battery, anywhere appeared first on CDM Create Digital Music.

IK UNO Drum: portable, $249.99 analog-PCM drum machine

Delivered... Peter Kirn | Scene | Wed 8 May 2019 11:41 am

Like the UNO synth before it, IK Multimedia’s new drum machine is a collaboration with boutique Italian maker Soundmachines, runs on batteries, takes up very little space, and it looks like a whole lot of fun, for EUR/USD 249.99.

As with some of the best-known classic drum machines, the sound engine is a combination of analog circuitry and PCM samples.

On the analog side of the sound engine, there are six drum parts: two different kicks, snare, clap, closed high hat, open high hat, and of course controls for shaping each.

On the PCM side, the default parts are toms, rim, cowbell, ride, crash. There are 54 samples onboard in total. And again, you can adjust Tuning, Snap, and Decay.

Sound samples are interesting – the kick sounds appropriately heavy and analog, and it sounds like you can glitch out those PCM samples, so … yep, I’m happy.

The voice architecture evidently lets you freely swap analog and digital parts as you wish to customize your kit, with up to 12 elements in each kit (and 11 of these can sound at the same time).

They’ve also added Drive and Compressor, both analog effects.

So that sounds already like a winning combination: customizable kits, plus some analog processing to make them punchier.

And then there’s the playing and programming bit. Touch entry has two velocity zones which you can map to sound parameters – so you don’t have to dive into a separate accent mode. You get 64 steps (with step and live performance), some serious automation recording (eight parameters per step), and even chaining up to 64 patterns together (for a kind of song mode). And you can trigger patterns live on the fly.

There are also some “performance effects” in the sequencer – Roll, Humanize, Swing, and Random.

More specs:

USB
2.5mm MIDI (with cables included)
Audio input for chaining – also routed through the compressor
400 g
4 AA batteries or power via USB
Ships in June
249 EUR/USD (not incl. VAT)

That little audio input with compressor makes this a nice companion to a number of little boxes.

They don’t say that you can customize samples, which may sound like an odd thing to complain about on a $250 box, except that some inexpensive machines have actually provided that (albeit some made it exceedingly difficult to do, like the KORG volca sample).

So sure, while everyone else eyes modules with prices starting for around this, I bet you could do a lot of damage with this little box.

https://www.ikmultimedia.com/products/unodrum/

And they have a ton of tutorial/demo videos up already:

Uh… my music doesn’t sound like this, but maybe yours does?

And the specs with… okay, more of that song. (To be fair, my mood today for a mega-distorted 150 bpm acid techno track is probably not the best music bed underneath someone trying to explain how you feed power via USB or AA batteries. You could, like, shout over it into a vocoder?)

(You can still hire me to do your voice over / demo video. UnO drUM g1vv33s yoU meg444 Cr444zYYY ACID DRUGGY SPACECAT psych0000 so888uunnddsss! L0000kieee!! No? I charge by the hour, it’s easy. I’m sure Dr. Walker / Liquid Sky Berlin will join in our tripped out machine PR agency.)

The post IK UNO Drum: portable, $249.99 analog-PCM drum machine appeared first on CDM Create Digital Music.

Automated techno: Eternal Flow generates dance music for you

Delivered... Peter Kirn | Artists,Scene | Mon 29 Apr 2019 4:52 pm

Techno, without all those pesky human producers? Petr Serkin’s Eternal Flow is a generative radio station – and even a portable device – able to make endless techno and deep house variations automatically.

You can run a simple version of Eternal Flow right in your browser:

https://eternal-flow.ru/

Recorded sessions are available on a SoundCloud account, as well:

But maybe the most interesting way to run this is in a self-contained portable device. It’s like a never-ending iPod of … well, kind of generic-sounding techno and deep house, depending on mode. Here’s a look at how it works; there’s no voiceover, but you can turn on subtitles for additional explanation:

There are real-world applications here: apart from interesting live performance scenarios, think workout dance music that follows you as you run, for example.

I talked to Moscow-based artist Petr about how this works. (And yeah, he has his own deep house-tinged record label, too.)

“I used to make deep and techno for a long period of time,” he tells us, “so I have some production patterns.” Basically, take those existing patterns, add some randomization, and instead of linear playback, you get material generated over a longer duration with additional variation.

There was more work involved, too. While the first version used one-shot snippets, “later I coded my own synth engine,” Petr tells us. That means the synthesized sounds save on sample space in the mobile version.

It’s important to note this isn’t machine learning – it’s good, old-fashioned generative music. And in fact this is something you could apply to your own work: instead of just keeping loads and loads of fixed patterns for a live set, you can use randomization and other rules to create more variation on the fly, freeing you up to play other parts live or make your recorded music less repetitive.

And this also points to a simple fact: machine learning doesn’t always generate the best results. We’ve had generative music algorithms for many years, which simply produce results based on simple rules. Laurie Spiegel’s ground-breaking Magic Mouse, considered by many to be the first-ever software synth, worked on this concept. So, too, did the Brian Eno – Peter Chilvers “Bloom,” which applied the same notion to ambient generative software and became the first major generative/never-ending iPhone music app.

By contrast, the death metal radio station I talked about last week works well partly because its results sound so raunchy and chaotic. But it doesn’t necessarily suit dance music as well. Just because neural network-based machine learning algorithms are in vogue right now doesn’t mean they will generate convincing musical results.

I suspect that generative music will freely mix these approaches, particularly as developers become more familiar with them.

But from the perspective of a human composer, this is an interesting exercise not necessarily because it puts yourself out of a job, but that it helps you to experiment with thinking about the structures and rules of your own musical ideas.

And, hey, if you’re tired of having to stay in the studio or DJ booth and not get to dance, this could solve that, too.

More:

http://eternal-flow.ru/

Now ‘AI’ takes on writing death metal, country music hits, more

Thanks to new media artist and researcher Helena Nikonole for the tip!

The post Automated techno: Eternal Flow generates dance music for you appeared first on CDM Create Digital Music.

AUM is perfect iOS music hub, now with Ableton Link and MIDI updates

Delivered... Peter Kirn | Scene | Wed 24 Apr 2019 10:49 pm

Speaking of tools to glue together your gear and serve as the heartbeat of your studio – AUM. This iOS super-tool can serve as an essential hub for combining apps and hardware in any combination – and now it’s even more savvy with Ableton Link and MIDI.

You’d be forgiven for thinking AUM was just some sort of fancy mixer for the iPad. But it’s more like a studio for combining software with software, software with hardware, and hardware with hardware. So it might be a way to combine stuff that’s on your iOS device, or a convenient tool for mobile recording, or a way to let your iPad sit in a studio of other gear and make them play together, or a combination of all those things.

It does this by letting you do whatever you like with inputs and outputs, iOS plug-ins (Audio Unit extensions), audio between apps (Audiobus and Inter-App Audio), and multichannel audio and MIDI interfaces. It’s a host, a virtual patch bay (for both MIDI and audio), and a recording/playback device. And it’s a tool to center other tools. There’s also Ableton Link and MIDI clock support.

It’s worth bringing up AUM right now, because a minor point update – 1.3 – brings some major new features that really make this invaluable.

  • Ableton Link 3 support means you can start/stop transport.
  • You get “MIDI strips” for hosting useful MIDI-only Audio unit extensions.
  • You can import channels between sessions, and duplicate channel strips.
  • And you get tons of new MIDI mappings: program changes, tap tempo, loading presets, and even loading whole sessions can now be done via MIDI. I imagine that could see this used in some pretty major stage shows.

Jakob Haq has shown some useful ways of approaching the app, including MIDI mapping control:

Lots more tutorials and resources on the official site:

http://kymatica.com/apps/aum

The full feature list:

High quality audio up to 32-bit 96kHz
Clean and intuitive user interface with crisp vector graphics
Extremely compact and optimized code, very small app size
Unlimited* number of channels
Unlimited* number of effect slots
Inserts and sends are configurable pre/post-fader
Internal busses for mixing or effect sends
Supports multi-channel audio interfaces
Supports Audio Unit extensions, Inter-App Audio and Audiobus
Audiobus state saving
Highly accurate transport clock
Metronome with selectable output and optional pre-roll
Sends host sync to Audio Unit plugins and IAA apps
Send MIDI clock to external hardware
Play in time with Ableton Link
FilePlayer with sync and looping, access to all AudioShare files
Records straight into AudioShare storage space
Record synchronized beat-perfect loops
Built-in nodes for stereo processing, filtering and dynamics
Latency compensation makes everything align at the outputs
Separate Inter-App Audio / Audiobus output ports
Built-in MIDI keyboard
Fully MIDI controllable
MIDI Matrix for routing MIDI anywhere

The post AUM is perfect iOS music hub, now with Ableton Link and MIDI updates appeared first on CDM Create Digital Music.

Behringer update: TC-Helicon hardware mimics IK Multimedia products

Delivered... Peter Kirn | Scene | Fri 19 Apr 2019 3:15 pm

The Behringer effect: TC-Helicon, once known for its high-end gear for vocalists, is now a badge on a line of products copying the layout and design of existing IK Multimedia products.

Chinese news site Midifan has the news. (Content in Chinese language only, but the pictures tell the story reasonably well.) Midifan is careful to use the term “tribute” in describing these copies/clones or whatever you might call them, after having earned the ire of Music Group over past reporting (links below). Images here are from Midifan.

TC-Helicon and parent TC Electronic had been independent companies until acquired by MUSIC Group (aka MUSIC Tribe Global Brands, more commonly known by the name of their CEO, and their cornerstone music brand, Behringer). That news item from 2015:

MUSIC Group Acquires TC Group

The new TC-Helicon line of mobile audio / mobile guitar products uses form factors, near-identical case designs and control layouts, and in some cases even identical panel labels and symbols to products from Italian manufacturer IK Multimedia.

The products in question, and the existing products they closely resemble:
TC-Helicon GO VOCAL (IK Multimedia iRig PRE)
TC-Helicon GO TWIN (IK Multimedia iRig DUO)
TC-Helicon GO ACOUSTIC (IK Multimedia iRig Acoustic Stage)

收归 Behringer 的 TC-Helicon 也学会了致敬,IK Multimedia 哭晕在厕所 [Midifan full gallery of images, comparisons]

The products will get IK’s attention, the branding could be taken as a shot at Japan. Roland uses the GO brand for its mobile products: GO:MIXER, GO:PIANO, and GO:KEYS. This line is both intended for use with smartphones and targeted at beginners.

Indicating they intend to try to protect that trademark, Roland filed for protection for its GO line last fall. (There’s one refusal listed, but non-final.)

Do check the Midifan story for a more detailed breakdown.

Unlike some recent Behringer “tributes,” you couldn’t argue the GO Series is bringing back a decades-old analog design or making the category more affordable. Street prices on the TC line look roughly in line with pricing on the IK products that preceded them, and those prices are in turn under a hundred bucks. Major US retailers like Sweetwater, Guitar Center, and MusiciansFriend are already selling the TC products.

In terms of listed specs, the GO Series also appear to correspond exactly to the associated IK products – “clones” would be the most appropriate word. (The iRig Pre and GO Vocal, for instance, share 9V battery, jack and I/O configuration, placement, and control layout. The TC unit is slightly larger.)

This sort of precedent could harm the music products industry. Cloned products from any manufacturer could easily let competitors establish which categories are lucrative, and then save money twice over – spared the expense of designing the product itself, as well as ramping up production and determining what sells in the marketplace. In the past, what has stopped a scenario like this has been brand – a no-name clone could come along, but musicians are more likely to trust a brand they know and can easily find. But now that Music Group owns respected brands like TC-Helicon, and has distribution in the same channels, that barrier could disappear.

There are already implications for IK should this product catch on; more so, if the pattern is repeated. New product designs could be endangered, if another company can clone the design work, avoid all the risk of introducing a new product to the market, and then even slightly undercut price.

This is not to say TC doesn’t continue to represent new design – a new GO-branded mixer for audio use by streamers appears to be original (unless someone wants to dispute that). The other way this could go would be for Music Tribe to dilute the value of their own TC-Helicon brand, much as Behringer has become associated with low-cost copies in the minds of some consumers.

For now, IK’s existing market position means their products will show up first when you search, and have some customer reviews on the US sites I checked.

We’ll watch to see if there’s any legal action taken against Music Tribe over these products.

In other Behringer/Music Tribe legal news

Disputes between Music Group and other players in the industry continue to spill over into the courts.

Family-owned US maker Auratone is locked in trademark litigation with Music Tribe over the Auratone name, following the death of Auratone’s founder Jack Wilson. You can follow that case online, though there’s not yet a decision.

The Superior Court of the State of California in San Francisco County did rule that Music Group was obligated to pay over $100,000 in combined costs and legal fees to Dave Smith Instruments and DSI employee Anthony Karavidas. (California has robust anti-SLAPP protections, which are intended to stop litigation from gagging public speech.)

Previously:

On the DSI case:

Behringer sued Dave Smith Instruments, forum posters, and lost

Behringer’s tangle with leading Chinese music tech news site Midifan (which has since prompted the use of the word “tribute” in favor of copycat):

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

And Behringer responded to that CDM report (and additionally questioned this site’s neutrality and reporting):

Behringer responds to reports, defends reverse engineering

The post Behringer update: TC-Helicon hardware mimics IK Multimedia products appeared first on CDM Create Digital Music.

AKAI’s cute little MPK mini keyboard now has internal sounds

Delivered... Peter Kirn | Scene | Thu 18 Apr 2019 6:05 pm

AKAI’s MPK mini was already something of a sleeper hit – a simple MIDI controller keyboard that was small enough to be irresistible. But the latest revision makes it useful even all by its lonesome.

MPK mini play is what AKAI are calling the latest edition. It’s actually the second major revision of this unassuming little keyboard. The gamepad-style pitch/mod joystick had already packed in a bit more control features, in addition to the handy pads, banks, and a built-in arpeggiator.

But all of that was just for use with a computer, connected via USB. The “play” version will now work standalone. There are 128 built-in instrument sounds and 10 drum kits in the internal sound module, plus a crisp OLED display so you can find the sound you want. AA battery power means this is all at your ready without even power nearby. There’s even a built-in speaker so you can hear what you’re doing.

You can also make Favorites, which compile a Keys patch, a Drums patch, and settings for the knobs.

Heck, it’s even got a sustain pedal input and a headphone jack.

I’ll be totally honest – I tried to look up what sounds are in there, and couldn’t. I know the screenshot already has an 808 kit – sold yet?

It almost doesn’t seem to matter. I can’t think of another keyboard that could work as an iPad or computer accessory on USB power, then also a standalone jamming keyboard. Studio ready, picnic ready, too. Seems a good move in time for summer (Northern Hemisphere, anyway).

I gush only because the MPK mini is one of those things that you buy sort of as a throwaway, then wind up using more than everything else, just because it’s so small and convenient. It also has the advantage of taking up so little space that even when other gear in the studio competes for space, it has a way of staying by your computer keyboard instead of going on the shelf.

(Judge me by my size, do you?)

https://www.akaipro.com/mpk-mini-play-mpkminiplay

Midifan in China have a hands-on with more pictures / unboxing (worth looking even before you reach for Google Translate to try to work out what they’re saying, if you don’t speak Chinese).

The post AKAI’s cute little MPK mini keyboard now has internal sounds appeared first on CDM Create Digital Music.

deton8 is a little drum machine with loads of soul

Delivered... Peter Kirn | Scene | Tue 19 Mar 2019 7:33 pm

Twisted Electrons move on from acid and chip synths to drum machines. And the deton8, for around three hundred bucks, packs a ton of personality and sound possibility in a cute, playable package.

Twisted Electrons made a name for themselves in fun little boxes and boards packed with 8-bit, chip music, and acid sounds. Those instruments all stand out for lots of sequencing features and hands-on playable options. So a drum machine is of course a natural next step.

But what a next step the deton8 is. Mixing samples and synthesis, 8-bit sounds and wavetable synth, custom kits, and a ton of control and performance, it promises to be one of the more fun packages we may see this year. There’s even a simple NES-style synth in there, so even though a compact bassline synth would be an obvious combination with this, you could even do a lot with just the voices in this hardware.

I’m terrifically eager to get my hands on this one. It’s now much clearer what deton8 is about thanks to a new video – and some tantalizing new details:

For live performance, what’s especially appealing is the sound knob, which has different characteristics for different sounds. That’s a lot more fun than menu diving to change sounds, or being limited to tweaking pitch and duration alone.

Oh yeah, even that decay knob is more fun than usual, since decay doubles as glitchy repeat “delay.”

And in keeping with Twisted’s legacy, this thing is packed with downsampling and bit reduction, which is a perfect match for drums. (Again, that’s especially live – there’s a reason those Game Boy parties got so wild. There’s something about squashing dynamic range and making things screaming and digital that can make people go nuts. I guess partying is about reducing bit depth, anyway, right?)

Stutter, reverse, retriggering, granular algorithms – there’s a bunch there to play and record. I imagine you might make this a primary instrument, or some icing on your existing drum machine … that you could use it for relatively subtle stuff, or go totally nuts.

And it’s eminently affordable. The deton8 is 255 EUR (that’s under US$300), or around 300EUR with VAT.

Here’s the full list of features. The big development was, at the last minute, Alex at Electron responded to overwhelming user requests to load your own samples. So that means in addition to multiple kits included in the box, you’ll be able to use a software editor to slice up and upload your own samples, as both loops and 1-shots – see screenshot.

(Dear Roland, please, please add this to the TR-8S, too! And … yeah, I can imagine the TR and Twisted Electrons would make a wonderfully psycho combo.)

Features:

USB-MIDI
Hardware MIDI
SYNC IN
SYNC OUT
16 patterns of 1-16 steps each
Chain up to 16 patterns in a row to make a song
8 Voices (Kick, Snare, Metal (hats), Clap, Can (tinny sounds), Tom, Nut (woody sounds), SYNTH (NES inspired triangle wavetable synthesizer, with arp that can be shaped to a square).
Two modes: Loop Mode (for breaks and melodic content, decay and tune is global) & Kit mode (individual tuning and decay per part)
Pitch and decay modulation per step on every voice
8 hands on Stutter modes: Beat repeat (with variable rate), Forward granular, Reverse granular, Pendulum granular (scratch), buzz/texture , random granular (noise generation), spin up, spin down
Forward & Reverse sample playback per track
Delay with variable delay time and pitch decay (upwards and downwards)
Ring mod effect with variable frequency
Global pitch shift
Copy/Paste patterns
Real time pattern recording with optional metronome
Tap tempo
Swing
Mute/Solo a track
Drive any voice into distortion
Sound variation knob for Kick (add sub), Snare (add noise/snappy), Hats (change texture) and Synth (arpeggiate)
Pump aka sidechain compression emulation (any track can “duck” the others for the pumping/breathing effect)
Pattern clean and randomize for accidental magical beats

It sounds like we should see a review unit in April. See you then.

Promo video for some more sounds:

https://twisted-electrons.com/product/deton8/

The post deton8 is a little drum machine with loads of soul appeared first on CDM Create Digital Music.

nanoloop reborn as standalone, Game Boy-inspired groovebox

Delivered... Peter Kirn | Scene | Tue 12 Mar 2019 2:12 pm

nanoloop, beginning life as a Game Boy cartridge, helped ignite a craze in chip music by intuitively combining sequencing and sound. Now, its creator wants to make his own hardware.

And — while I hope you read what I have to say, you almost don’t need to do anything other than watch this tantalizing demo:

It’s really hard to describe nanoloop just in terms of specs. The music tool has seen iterations on original Game Boy plus Game Boy Advance generation, in addition to iOS and Android apps. It wasn’t the only Game Boy cartridge embraced by musicians – LSDJ (Little Sound DJ) was also beloved by artists, more in the conventional tracker model. And just talking about the particulars of the synth architecture below also makes this sound crude.

But there’s something uniquely magical about nanoloop, the one-man invention of developer Oliver Wittchow. The software is minimalistic and elegant, reduced to a simple grid. You can pick it up and make things happen right away, making it friendlier than rivals to newcomers – you can be led by instinct, without having to understand concepts like “tracker” sequencing. And then more depth unveils itself in time. The result is an instrument that melds sequencer and sound, in a way only a handful of instruments ever have – the Roland TB-303 being an obvious comparison.

The sound of Nintendo’s Game Boy hardware was also integral to nanoloop’s appeal – augmented later by Oliver’s own software-based FM synth.

nanoloop hardware, therefore, is a big breakthrough. It recreates the signature sound established by its Nintendo predecessor. It boils down that intuitive grid into a hardware design. And it keeps the arcade-style controls – perfectly positioned for use with your thumbs, and keeping the whole package compact.

Plus the Kickstarter project – which has already crossed its funding threshold – starts at just 97EUR for hardware. That prices this only slightly above the cost of the Teenage Engineering Pocket Operator line, with I think a far more interesting interface and sound.

In other words, once this ships, I think it’s overnight the most interesting budget synth and mobile sound-making hardware.

And it’s really packed with everything you’d want – battery power, sync (both via MIDI and CV), tons of musical features for messing with patterns, and the ability to store patterns on microSD card or even an audio cable if you … forget the card. (Have you ever done that? Me, never. Never, ever, ever forgot an … okay.)

Kickstarter project

http://nanoloop.de/

Full specs:

synthesizer

4 channels:
dual square wave with true analog filter (mono)
4-voice polyphonic FM (stereo)
monophonic FM (stereo)
noise & clicks (stereo)

sequencer

4×4 matrix
per-step control for all parameters
pattern transpose for all parameters
“meta step”: play note only every 2nd or 4th loop
variable pattern length per channel
individual channel tempo
ping pong and random modes
shift pattern in four directions
randomise all parameters

display

8×4 bi-color LED dot matrix
5 LED digits
8 menu icons
various color combinations available

interface

silicone rubber buttons with plastic caps:
d-pad + 4 buttons
volume dial

connections

3.5 mm mini jack stereo headphone/line out
3.5 mm mini jack input for CV and MIDI sync
3.5 mm mini jack output for CV and MIDI sync

case

bent acrylic glass

power

2 x AAA batteries, micro USB (power only)
physical power switch -> zero “standby” power
battery life: 50+ h

memory

99 banks à 4×8 patterns each
song 999 patterns length
backup / restore via audio cable
micro-SD slot for near infinite projects (SD-card not included)

sync

MIDI sync in & out
analog 1/24, 1/16, 1/8 in & out

dimensions

12 x 6 x 2.5 cm, 100 g (incl. batteries)

The post nanoloop reborn as standalone, Game Boy-inspired groovebox appeared first on CDM Create Digital Music.

SOMA’s Ether is a high-sensitivity ear for your electromagnetic world

Delivered... Peter Kirn | Scene | Wed 6 Mar 2019 6:48 pm

Electronics are redefining what “sound” means – by remapping other signals into our audible spectrum. The latest is SOMA’s invention Ether, a “microphone” for electromagnetic fields. If that sounds familiar, this one’s a bit different than some EMF devices that came before.

Here’s a look at the new Ether. It’s a new creation from SOMA Laboratory, the same Russian instrument builder who have give us the gorgeous “organismic” LYRA synths. (I covered them in the Russian Synthposium write-up last year.)

First, let’s talk electromagnetic fields. Just like gravity, these fields extend throughout nature. Since we have electricity and electrically-charged stuff pulsing all around us, there’s a lot happening in the electromagnetic field. But we can’t perceive that, because our bodies lack sense organs equipped to do so – well, until now, that is. Now we’ve invented devices that translate to things we can sense. Think of it as expanded sensory perception for the transhumanist, technologically augmented age.

Various artists have built electromagnetic detectors that you can use for music – both by listening directly with headphones, and by letting you plug that signal into a recorder or use in live performance. That includes the superb ElecktroSluch by LOM Label and artist Jonáš Gruska, who both makes these instruments available and has built a body of works around them on his label (both by him and invited artists).

Latest microphones unlock an unheard world

https://lom.audio/instruments/elektrosluch/

Part of what makes Jonáš special, though, is his interest in delicate sounds and focused sounds – that’s something he applies to his acoustic microphones, as well.

So here’s where the SOMA Ether becomes interesting.

The invention of engineer Vlad Kreimer, the Ether is a portable EMF device. But it’s much more sensitive than other offerings – making it well suited to picking up larger ambiences in recording or live performances. It works on a slightly different technique, and yields different results.

Vlad himself sends along an explanation to make this clearer:

ETHER is not just an inductive sniffer like some projects you can easily find online. A simple low-frequency inductive sniffer will be silent in most places that are full of sounds in the video. Such devices need to be placed close to an emitting source and will not work on a street. All they contain is a coil and a low-frequency amplifier. In comparison, ETHER has a regenerating circuit and a demodulator, making it an actual radio wave receiver, not just an amplifier of low-frequency magnetic fields. However, ETHER can perceive the low-frequency magnetic fields as well. But, honestly, if your goal is to scan objects in close proximity (0-20 centimetres), devices like Elektrosluch will work cleaner and more focused due to its narrow band and lower sensitivity. ETHER was designed to be a part of your walks in the city and may even pick up sounds in a forest or at the seashore (I have such experience). Elektrosluch was designed for using over a table full of gear. Also, ETHER can perceive the electric component of the radiation as well, capturing radiation that is far above the audio range and is much more sensitive. Therefore, it has a significantly different design, functions and implementation than a simple inductive sniffer even if in some cases their functions can overlap.

Devoted EMF fans I can imagine carrying both the Ether and something like an ElectroSluch to capture different sounds, a bit like photographers carry multiple lenses. (Oh yes – this addiction is about to run deep. Or you can think about the difference between a double bass and an oboe.)

As you can hear in the demo, you get these sweeping, overlapping waves of EMF with some really fantastic distortion – punk electromagnetism.

120 EUR, available to order now. (VAT and shipping are additional.)

https://somasynths.com/ether/

The post SOMA’s Ether is a high-sensitivity ear for your electromagnetic world appeared first on CDM Create Digital Music.

Teenage Engineering OP-1 synth is back in stock, here to stay

Delivered... Peter Kirn | Scene | Thu 14 Feb 2019 9:30 pm

It put the boutique Swedish maker on the music map, and helped usher in new interest in mobile devices and slick design. Now the OP-1 from Teenage Engineering is back in stock, and its makers say it’s here to stay.

That should be good news for OP-1 fans. Sure, the OP-Z has some fancy new features, but it loses the all-in-one functionality and inviting display on the OP-1. And Pocket Operators – both in their original mini-calculator form and now in a line of inexpensive kit modular – well, that’s for another audience. The OP-1, love it or hate it, is really unlike anything else out there. And someone must want it, because it’s been in demand a full decade after its first appearance.

Teenage Engineering shared today they were resurrecting the OP-1 ( under a headline “love never dies,” for Valentine’s Day). Here’s that announcement:

after being out of stock for more than a year with rumours of its demise, we are very happy to let you know that finally, the OP-1 is back and here to stay!

so what happened?

during our nine years of production, we have been very lucky in having a steady supply of the components needed for the OP-1. but last year we suddenly found ourselves without the amoled screen needed and nowhere to find new ones in the same high quality. but after a long time sourcing the perfect replacement, we have finally found it, and we will now be able to fulfil the demand that’s been growing for the past year.

Hmm, maybe the Teenagers want to start a side business reselling that display part? I’m interested.

Anyway, you can buy an OP-1 new now if you couldn’t find it on the used market – or watch for used prices to come down accordingly. Let’s celebrate with a little OP-1 reminiscence, as I know for some of you, Teenage Engineerings’ other stuff just doesn’t compare.

Also – shoes!

TĀLĀ is right – Teenage Engineering OP-1 is a great desert island synth

Teenage Engineering: Opbox Sensors and Shoes, OP-1 Drums and MIDI Sync

Teenage Engineering’s OP-1 Instrument: Hands-on, Videos, Why it’s Different

Someday I hope Elijah Wood says nice things about me:

https://teenageengineering.com/products/op-1

The post Teenage Engineering OP-1 synth is back in stock, here to stay appeared first on CDM Create Digital Music.

NI now has killer, budget audio interfaces and compact keys

Delivered... Peter Kirn | Scene | Thu 7 Feb 2019 7:24 pm

The answer to questions like “I just need a simple audio interface,” and “I want a compact keyboard that doesn’t suck,” along with “did I mention I’ve got almost no money?” – just got some new answers.

Native Instruments launched the new audio interfaces and the latest addition to their keyboard line as part of some grand, abstract PR idea called “for the music in you,” and said a bunch of things about starting points and ecosystems.

To cut to the chase – these are inexpensive, very mobile devices with a ton of bundled software extras that make sense for anyone on a budget, beginner or otherwise. And whereas most inexpensive stuff looks really cheap, they look pretty nice. (That holds up in person – I got a hands-on in Berlin just before NAMM.)

KOMPLETE AUDIO 1, AUDIO 2

There are two audio interfaces – KOMPLETE AUDIO 1 and KOMPLETE AUDIO 2. These take one of the best features of NI’s past audio interfaces – they put a big volume knob right on top so you can quickly adjust your level, and they’ve got meters so you can see what that level is. But crucially, they promise better audio quality.

There are two models here, but let me break it down for you: you don’t want the AUDIO 1, you want the AUDIO 2. Why?

The AUDIO 1 was clearly made with the idea that singers just want one mic input (so there’s only a single XLR in), and for some reason also with RCA jacks on the back (because consumers, I suppose).

But if you spend just a little more on the AUDIO 2, you get a lot more usefulness.

First, two inputs – both XLR/jack combo, for mics and instruments, with mic preamps and phantom power so you can use any microphone. My guess is at some point everyone wants to record two inputs rather than one. (Think line inputs, stereo instruments, a mic and an instrument… you get the point.)

And you get jack outputs instead of RCA.

So, quietly, NI just created the most affordable way of connecting a computer and a modular.

If you are a beginner, you get a bunch of software to play around with. Ableton Live 10 Lite is actually a reasonable version of Live to try – only 8 tracks, but all of the core functionality of the software and many instruments and effects. There’s also MASCHINE Essentials, MONARK, REPLIKA, PHASIS, SOLID BUS COMP, and KOMPLETE START, which represents plenty of music making time.

The price is really the big point: US$109 / 99 EUR and $139 / 129 EUR. Coming in March.

https://www.native-instruments.com/en/products/komplete/audio-interfaces/komplete-audio-1-audio-2/

A micro keyboard

If you want some sort of mobile input, there are now some wild multi-touch expressive controllers out there, like ROLI’s Seaboard Block and the Sensel Morph.

But what if you don’t want some new-fangled touch insanity? What if you just want a piano keyboard?

And you want it to be inexpensive, and fit in a backpack so you can take it with you or fit it on cramped desks?

Good news: you’ve got loads of options.

Bad news: they’re all kind of horrible. They’re ugly, and they feel cheap. And they have extras you may not need (like drum pads, mapped to the same channel as the keyboard, begging the question why you wouldn’t just play the keys).

So I welcome the introduction of Native Instruments’ KOMPLETE KONTROL M32. This is one that I figured I needed myself the moment I saw it. (Normally, my reaction on keyboard product launches is more on the lines of – “God, please don’t make me write about another generic keyboard controller.”)

The feel is solid – a bit like some of the mini-key keyboards from Roland/Edirol a few years back. They don’t have the travel of full-sized keys, allowing this low profile, but seemed reasonably velocity sensitive.

Plus there are transport buttons and encoders, and two very usable touch strips. In software like Ableton Live and Apple Logic, these map to the usual transport features, and the encoders are assignable. In Native Instruments’ software, of course, you get the usual deep integration with parameters, browsing, and production.

The M32 will be a particularly strong companion to Maschine on the go, finally with a small footprint – something simply not possible with a 4×4 pad layout, much as I love it.

Speaking of Maschine – this is the full Maschine software. There’s a smaller sound bank, but even that is still 1.5GB. So when they say “Maschine Essentials,” they’re practically giving Maschine away. The other extras I mentioned above are slick, too – Reaktor Prism alone you could lose weeks or months in. Monark is a gorgeous Minimoog emulation with realistic filters and some sound design twists not on the original.

And it’s just US$129 (119 EUR). So it looks twice as expensive, but is actually cheaper than a lot of other options out there.

NI are trying to tell a lot of stories at once – something about Sounds.com, something about DJs, something about producers… and they’re following us all over social media and Google with constant ads.

But here’s the bottom line: this is only compact keyboard at any price that feels good or looks good, it’s still only just over a hundred bucks, and the “beginners” bundle is likely to please advanced users for months.

Coming in March.

https://www.native-instruments.com/en/products/komplete/keyboards/komplete-kontrol-m32/

The post NI now has killer, budget audio interfaces and compact keys appeared first on CDM Create Digital Music.

Synth One is a free, no-strings-attached, iPad and iPhone synthesizer

Delivered... Peter Kirn | Scene | Thu 31 Jan 2019 6:52 pm

Call it the people’s iOS synth: Synth One is free – without ads or registration or anything like that – and loved. And now it’s reached 1.0, with iPad and iPhone support and some expert-designed sounds.

First off – if you’ve been wondering what happened to Ashley Elsdon, aka Palm Sounds and editor of our Apps section, he’s been on a sabbatical since September. We’ll be thinking soon about how best to feature his work on this site and how to integrate app coverage in the current landscape. But you can read his take on why AudioKit matters, and if Ashley says something is awesome, that counts.

But with lots of software synths out there, why does Synth One matter in 2019? Easy:

It’s really free. Okay, sure, it’s easy for Apple to “give away” software when they make more on their dongles and adapters than most app developers charge. But here’s an independent app that’s totally free, without needing you to join a mailing list or look at ads or log into some cloud service.

It’s a full-featured, balanced synth. Under the hood, Synth One is a polysynth with hybrid virtual analog / FM, with five oscillators, step sequencer, poly arpeggiator, loads of filtering and modulation, a rich reverb, multi-tap delay, and loads of etras.

There’s standards support up the wazoo. Are you visually impaired? There’s Voice Over accessibility. Want Ableton Link support? MIDI learn on everything? Compatibility with Audiobus 3 and Inter App Audio so you can run this in your favorite iOS DAW? You’re set.

It’s got some hot presets. Sound designer Francis Preve has been on fire lately, making presets for everyone from KORG to the popular Serum plug-in. And version 1.0 launches with Fran’s sound designs – just what you need to get going right away. (Fran’s sound designs are also usually great for learning how a synth works.)

It’s the flagship of an essential framework. Okay the above matters to users – this matters to developers (who make stuff users care about, naturally). Synth One is the synthesizer from the people who make AudioKit. That’s good for making sure the framework is solid, plus

You can check out the source code. Everything is up at github.com/AudioKit/AudioKitSynthOne – meaning Synth One is also an (incredibly sophisticated) example app for Audio Kit.

More is coming… MPE (MIDI Polyphonic Expression) and AUv3 are coming soon, say the developers.

And now the big addition —

It runs on iPhone, too. I have to say, I’ve been waiting for a synth that’s pocket sized for extreme portability, but few really are compelling. Now you can run this on any iPhone 6 or better – and if you’ve got a higher-end iPhone (iPhone X/XS/XR / iPhone XS Max / 6/7/8 Plus size), you’ll get a specially optimized UI with even more space.

Check out this nice UI:

On iPhone:

More:

AudioKit Synth One 1.0 arrives, is universal, is awesome

The post Synth One is a free, no-strings-attached, iPad and iPhone synthesizer appeared first on CDM Create Digital Music.

Arturia’s new experimental synth – and Mutable Instruments’ role

Delivered... Peter Kirn | Scene | Fri 25 Jan 2019 6:12 pm

It was only a matter of time before some of the craziness of the modular world came to desktop synths, too. Arturia’s new MicroFreak is a budget keyboard with a weird streak.

It’s also been the source of some confusion, because it in fact makes use of oscillators from open source hardware maker Mutable Instruments, but hang tight for an explanation there. (It’s not exactly the focus of this synth, but it is significant – and an interesting illustration of overlapping capabilities in the age of open source.)

$349 (299 EUR) – coming this spring.

Experimental features are making their way into the mainstream. Let’s count – and yeah, that product name MicroFreak fits:

A flat-panel metal touch keyboard (Buchla style), with poly aftertouch. (Doesn’t look like there’s MPE support, though, just poly aftertouch support?)

A matrix for modulation (something associated with synths like the ARP 2500).

Randomization features in the step sequencer – various functions along the top “spice” and “dice” and otherwise rearrange your patterns.

Oscillator features from Mutable Instruments’ open source Plaits engine – and modes like Karplus Strong (physical modeled strings/plucks), harmonic oscillators, and more exotic wavetables.

It’s still an Arturia design, no doubt – the digital oscillators get fed through an analog filter (this time the Oberheim SEM), and the preset storage and control knobs all look Arturia-like and more conventional. But it’s a blend between that and more leftfield hardware, in one very low-cost unit – $349 (299 EUR) this spring.

The resulting design looks a little like it was pieced together from different bits – an ornate keyboard versus a more staid gray body, plus four glaring traffic cone orange knob caps. But that price is terrific, especially considering a lot of modular cases start at that price – let alone what you’d need to even begin to approach these possibilities here.

And – the thinness is fantastic. It seems 2019 is a year of touch keyboards. Don Buchla would’ve been proud of us.

So let’s get back to the Mutable Instruments oscillators, which are one of the more interesting features here. We’ve confirmed that Mutable Instruments and founder/designer Emilie were not directly involved in the design, though she did sign off on the mention of the company name.

Mutable Instruments’ Plaits module code is available open source under an MIT license, so any manufacturer can pick it up and use it – even without asking, actually. That’s by design; Emilie tells us she intended widespread use. (An alternative for open source developers is to use “copyleft” licensing, which requires anyone reusing your stuff to release their source, as well. That would’ve been interesting – theoretically it would have meant Arturia would need to open source their additional oscillators and firmware. The GPLv3 license we’ve used on MeeBlip has this function, for example.)

Some of Arturia’s original copy was perhaps a bit overzealous and caused some confusion about whether Mutable Instruments was a partner on the design. They’ve since clarified that. For further clarification, read the statement on the Mutable forums:

So while it’s not a collaboration, it does show off the power of open source. As Émilie writes:

You can find Mutable Instruments’ DSP code in the Korg Prologue, the Axoloti, the Organelle, VCV Rack, and plenty of other bits of software or hardware. This is not stealing. Plaits’ code is a summary of everything I’ve learnt about making rich and balanced sound sources controlled by a few parameters, it’s for everyone to enjoy.

The important thing here is to differentiate between the open source Plaits modules, some new additions from Arturia, and then the Plaits sounds you get from Mutable’s updated modules. Let’s break it down:

Plaits oscillator modes:

  • VA, classic virtual analog
  • Waveshaper, triangle wave with waveshaping / wavefolding
  • FM (2-operator FM oscillator)
  • Grain, granular synthesis
  • Chords, fixed paraphonic harmonies (hello, trance music, then)
  • Speech synthesis
  • Modal (inharmonic physical model)

Those of us who have been playing with this on hardware or in the authorized versions inside VCV Rack will definitely appreciate seeing these elsewhere. (Really – can’t get enough.)

Arturia did add some pretty significant modes to those:

  • “Superwave” – detuned saw, square, sine, triangle waves, somewhat Roland-ish sound
  • “Harmo” – 32 sine waves for additive synthesis
  • Karplus Strong – physical string modeling
  • Wavetable – scan through wavetable modes

To me, those Arturia additions really anchor this offering, with some pretty fundamental ideas on offer. Put them together, and you should have something really versatile.

But okay, since Mutable Instruments doesn’t get any of your money when you buy the Arturia MicroFreak, did Mutable just give away the store by using an open source license? Well, no, not really – Plaits gives you a full 16 modes, an internal low pass gate, and does all its 32-bit floating point math in hardware that you can bolt into a modular case and interconnect via control voltage. Plus, you can get Plaits in software if you like – see the Audible Instruments Preview for VCV Rack, regularly updated.

Heck, that could compel us Mutable superfans into happily buying these same features multiple times, in Arturia’s hardware, in the pack for VCV Rack (which Mutable has elected to support charity), and in Mutable’s own hardware. Hmmm… a MicroBrute, a little skiff with some Mutable modules, a nice connection to the laptop, maybe again a Raspberry Pi. Okay, I’ll stop. Guess I’ll have to buy the White Album again…)

See:
https://mutable-instruments.net/modules/plaits/

And as for MicroFreak:

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

The post Arturia’s new experimental synth – and Mutable Instruments’ role appeared first on CDM Create Digital Music.

Next Page »
TunePlus Wordpress Theme