Qoops Loops ‘n Boops Kit sample pack released

Qoopr Qoops Loops 'n BoopsSam Zwart aka Qoopr has released the Qoops Loops ‘n Boops Kit, a collection on loops, synth presets, and FL Studio project files and presets. The kit features a collection of space-y styled presets and samples. It’s a pack containing some Massive synths, samples and flp’s of my past projects. The kit is called: Qoops […]

Neue Korgs für 2018 – Hinweise aufgetaucht

Korg MicroKast

Genau genommen wissen wir eigentlich wenig. Die Idee stammt aus einem Podcast mit dem schönen Namen MicroKast, also mit K wie Korg. Korg möchte zur NAMM 2018 etwas vorstellen, wird dort gesagt.

Wird nicht ohnehin zur NAMM immer irgendwas vorgestellt von Korg? Ja, sicher. Daher schauen wir mal, was die Fakten sind und zerlegen das mal schön. Die Hinweise aus den üblichen Quellen beinhaltet jene Insider vom Podcast, die offensichtlich auch deshalb Bescheid wissen, da sie mit Korg zusammenarbeiten. Als weiterer Punkt gelten diverse oder einzelne Hinweise auf dem berühmten Gerüchteportal, wo viele dieser Spekulationen meist herstammen, nämlich Gearslutz.

Zur NAMM ein P-Gerät?

Das alles gipfelt in der Aussage, es würde ein Gerät mit dem Anfangsbuchstaben P sein. Der Name solle 8 Zeichen lang sein und möglicherweise könnte oder sollte eine Nummer enthalten sein. Zudem ist in dem Podcast, der später das Legend-Keyboard erwähnt, die Rede von einem “fantastischen und cleveren Produkt”. So können Fanboys und Mitarbeiter auch irgendeinen Arranger nennen.

Unsere Vermutungen

Also entweder wird das das “langweiligste Moped aller Zeiten” oder es wird wirklich clever™? Der bisherige Innovator, der für Volcas und Mono/Minilogue steht, hat Korg bekanntlich verlassen. Deshalb muss heute die Entwicklung eine ganz neue sein und wird wohl eher nicht auf bisherigen Geräten basieren. Sicher würde eine mehrstimmige oder aufgebohrte Version der “M*logue”-Serie zu einer Polylogue-Serie namentlich prima ins Konzept passen, aber dann müsste man das Thema an einen anderen Ingenieur abgeben.

Im Forum wird Polysix2 als Name in den Ring geworfen, was vermutlich die meisten eher enttäuschen würde. Noch ein Clone oder Re-Issue eines doch etwas simplen Klanggesellen? Braucht man das? Vielleicht orientiert man sich an Roland? Kleine Klassiker?

Korg hätte die Möglichkeit, denn ihr Mono/Poly als iOS-App ist klanglich doch sehr gelungen zu bezeichnen. In eine Hardware gegossen könnte sie den alten Klang des MS20 und Co. durch bessere Simulationen ersetzen. Aber Korg hat eben nicht nur Clones gebracht, sondern neue Instrumente auf Basis von MS-Technologie und analog. Also: Korg hat digitale und analoge Möglichkeiten, und daher ist alles von superspannend bis enttäuschend-langweilig drin. So lassen wir das mal offen, sollen wir hoffen oder einfach sagen – na, das ist doch keine News?

was bisher geschah…

Korg Monologue - ein Synth als Spielekonsole?
Korg Minilogue Desktop
korg-minilogue

Texture Mozaik.01 for Kontakt inspired by sounds of the past

THEPHONOLOOP Texture Mozaik.01THEPHONOLOOP has announced the release of Texture Mozaik.01, a Kontakt instrument library inspired by the sound design techniques used by some of the film and experimental composers from between 50s to 70s. Designed to mix 2 or 3 sound sources to create evolving, old school sounds, the instrument is mainly focused on the textures. Due […]

THEPHONOLOOP releases ‘Texture Mozaik.01’ for Kontakt 5

THEPHONOLOOP has released Texture Mozaik.01, an instrument inspired by the sound design techniques used by some of the film and experimental composers from the 50s to the 70s. Here’s what they [Read More]

S-Modular semi modular synthesizer for iPad offers vintage sound

S-Modular for iPadPaul Betowski of Design By Paul has released S-Modular, a virtual semi-modular synthesizer app for iPad. The synthesizer offers a vintage sound quality, and has been designed to have everything on one screen to make patching quick and easy. Modules are fixed, and 99 presets can be stored. Drag from one jack port to another […]

Ivy is an epic 240-step hardware sequencer as sound installation

16 steps? 32? Phfft. How about 240 steps, with 240 sliders, over a space of 5 meters? That’s the latest vtol installation – and it’s breathtaking.

Don’t even think of trying this at home, kids. It looks like a nightmare build – that’s just 240 sliders alone. But in action, you can watch dazzling parades of red LED lights as they make their way across its expanse. The project is called “Ivy,” and it’s the creation of Moscow’s Dmitry Morozov, aka vtol (an artist moniker named after the vertical-takeoff-and-landing aircraft).

That’s impossibly costly and impractical, so this flies way past the more luxurious step sequencers we’ve seen of late (like Polyend’s seq or Koma’s Komplex. Behold its glitchy, bleepy dance:

While the scale is overwhelming, there’s one really clever sequencer idea that you could copy. While there’s just one big array of sliders, Ivy has multiple voices – hence you see more than one light blinking its way across the array. And those voices can be independent, added and removed at will and each with assignable tempo.

There’s some philosophical background to this, too. The installation interprets the “Open Codes” theme of a new exhibition at ZKM – Zentrum für Kunst und Medientechnologie (Center for Arts and Media technology) in Karlsruhe, Germany:

On one side, Ivy is a representation of an archaic method of electronic music programming for analog synthesizers. On the other side – gigantic scale and obsessive multiplication of simple primitive elements turns this project into an art installation, that is referring to the topic of graphic and physical organization of parameters in electronic music.

More:
http://vtol.cc/filter/works/ivy

The post Ivy is an epic 240-step hardware sequencer as sound installation appeared first on CDM Create Digital Music.

Thorn Synthesizer mit 3 Oszillatoren ähnelt Massive

D_Schres Thorn

Thorn ist ein einfach zu bedienender, sogar eigentlich simpler Synthesizer. Er stammt von Dmitry Sches und erinnert optisch schon ziemlich an Natives Massive. Meine erste Frage war: Na, ist das eine kleinere Variante?

Der Klang ist offensichtlich durchaus mit einem gewissen Basisdruck versehen, und beim Durchsteppen klingt es mal nach FM und mal nach Wavetables. Genau damit arbeitet er auch. Eine Reihe Rausch-Typen kommen noch dazu, und alle drei Oszillatoren und der Rausch-Generator können jeweils in eines der beiden Filter (oder beide) geleitet werden.

Thorn und das additive Filter

Das Filter ist eigentlich der interessante Teil, denn hier findet man eine große Liste von Filterarten, die additiv arbeiten. Die Vielfalt durch dieses Filter erinnert an Emus alte Z-Plane-Filter oder eben an additive Synths wie Virsyn Cube oder Apples Alchemy. Das allein hat zur Folge, dass man vieles mit diesen Filtern durchprobieren und den Charakter von stimmhaft bis klassisch finden kann.

An Steuerung und Zusätzen gibt es klassische Möglichkeiten wie 3 LFOs und drei LFOs, die mit ADSR-Charakteristik arbeiten. Der Klang ist durchaus breit, anders als das viele additive Synthesizer der Vergangenheit anbieten, ohne die enorme Komplexität der Additiven übernehmen zu müssen.

Extrem sägende FM-Klänge kann man hier also auch über ein Filtermodell erreichen, ohne besonders krasse Wellenformen haben zu müssen. Es gibt solche aber durchaus. Wavetables und einfache Wellentypen gibt es aber in einer Software heute faktisch überall, deshalb ist das auch hier eher eben auch die Hausmannskost. Nice to have.

Dem Harmonic Filter nachgeschaltet sind zwei “echte” Filter mit analoger klassischer Klangästhetik und den klassischen Filtertypen. Der grobe Eindruck ist, dass sie offenbar auch wirklich nicht mehr so plastikartig klingen müssen wie die von Massive oder Abletons Zugaben. Damit kommt man auch dann weit, wenn man eigentlich kein großer Synthesenerd ist. Auch Pulsbreitenmodulation ist möglich, dafür wird vermutlich intern ein Wavetable verwendet – es gibt diese jedenfalls.

Dimitri Sches Thorn – erste Eindrücke im Video

Mit seinen $119 liegt er im Mittelfeld und ist realitisch. Hier erst einmal ein schnelles Klangdemo und danach noch eine Art Tutorial-Demo für ein paar Eindrücke. Die Website des Entwicklers ist aktuell nicht zu erreichen. Aktuell kann man für $69 hier fündig werden.

Trance Dimension for Spire soundset by JkSound at Reveal Sound

JkSound Trance Dimension for SpireReveal Sound has released Trance Dimension for Spire, a soundset by Jksound featuring 64 new sounds for the Spire synthesizer instrument. The soundset comprises a variety of Trance sound, including plucks, leads, solid basslines, FX, drum sounds, and more. Everything you hear in the audio demo is made with presets from the Spire soundset. Inside […]

Ableton and Native Instruments should worry about the DJS-1000

Pioneer’s aspirations for the DJ booth may be bigger than they first appear. And one clue is hidden in the news of the CDJ-shaped DJS-1000 sampler.

Let me spell it out for you:

“Support for DJS-TSP Project Creator2 – easily create projects and SCENE3 files on a PC/Mac.”

Yeah. That’s a big deal.

(See the full report: Pioneer made a CDJ-shaped sampler – what does that mean for DJs?)

Look, the actual reality of this may not be all that exciting. I’m contacting Pioneer to find out what the DJS-TSP software even looks like; maybe it’s just a simple utility for dumping some samples and being ready to go.

But consider that in a relatively short time, Pioneer have succeeded in making DJs playing off laptops something of the past. Rekordbox has changed the world, and now might well replace Traktor and Serato on computers. You may literally be mocked by a tech for even showing up at a gig with a computer. And many DJs are happy to switch to USB sticks instead, and not have to worry about whether a macOS update will make them flop in front of a crowd.

Two Berlin giants of music software might want to start thinking about what this means. Look, the computer is still invaluable in homes and studios, or for on-the-road production. Laptops are great for making music on trains and in hotel rooms, they’re probably sitting next to modulars and machines for recording, they’re where nearly everyone finishes tracks. They’re unassailable production tools.

But laptops are starting to look really vulnerable in live use. And part of the value equation of Ableton Live or Native Instruments Maschine is what they bring to live sets, not just to production.

What happens if Pioneer starts convincing some DJs to carry USB sticks instead of road cases?

This doesn’t mean a whole lot to, say, Elektron owners. And indeed, Live and Maschine have already lost ground in live sets to musicians choosing an Octatrack instead (among other rigs).

But consider that we are where we are partly because Native Instruments saw into a future where native software was key (alongside Waves, Propellerhead, and some other players). It’s peculiar they didn’t make the next leap into working out what that same code would do if it were paired with hardware. Would I buy portable, standalone gear from NI that made it easy to play live with Maschine or Traktor? Would I buy a Push that worked without having to be tethered to a laptop?

Well, obviously, I would – even at a price premium.

It’s very possible that Ableton, NI, and others can continue to compete in just software. And maybe you’ll just bounce out loops from their tools to that Pioneer software to play on the DJS-1000. But it’s hard not to see a possible missed opportunity here – and some competitive vulnerability if Pioneer, with their massive resources, double down.

The post Ableton and Native Instruments should worry about the DJS-1000 appeared first on CDM Create Digital Music.

Pioneer made a CDJ-shaped sampler – what does that mean for DJs?

Japanese giant Pioneer continue their march to expand from decks and mixers into live tools for DJs. The latest: a sampler in the form of the ubiquitous CDJ.

This isn’t Pioneer’s first sampler/production workstation. The TORAIZ SP-16 already staked out Pioneer’s territory there, with the same 4×4 grid and sampling functions. And the SP-16 is really great. I had one to test for a few weeks, and while these things are pricey and more limited in functionality than some of the competition from Elektron and Akai, they’re also terrifically simple to use, have great build quality, feature those lovely Dave Smith analog filters, and of course effortlessly sync to other Pioneer gear. So it’s easy for loyal owners of other gear to laugh off the pricey Pioneer entry. But its simplicity for certain markets is really an edge, not a demerit.

The DJS-1000 appears to pack essentially those same features into the form factor of a CDJ. And it lowers the price relative to the SP-16. (suggested retail is €1299 including VAT, so somewhere in the US$1200 range or less)

Features, in a nutshell. Most are copied directly from the SP-16:

  • 16 step color-coded input keys, step sequencer
  • Touch strip
  • 7-inch full-color touchscreen, with three screens – Home, Sequence, Mixer
  • Live sampling from inputs
  • FX: echo, reerb, filter, etc. (digital filter, not I think the Dave Smith analog filter on the SP-16)
  • MIDI clock sync, Beat Sync (with PRO DJ LINK for the latest CDJ/XDJ)

And it even loads project files right off the SP-16 – so you can make projects at home, then tote them to the club on USB stick. But there a couple of additions:

  • Tempo slider, nudge for turntable-style sync by hand
  • Form factor that sits alongside the CDJ-2000NXS2 and DJM-900NXS2
  • Support for DJS-TSP Project Creator2 – “easily create projects and SCENE3 files on a PC/Mac”

But… wait, would you actually want a sampler shaped like a CDJ?

There are a few benefits to borrowing the CDJ’s form factor. Of course, you elevate the controls to the same height as turntables and other CDJs, and tilt up the screen. (Those viewing angles were pretty good, but this is still easier to see in a booth. Oh, yeah – Pioneer’s slogan for this thing is even “elevate the standard,” which you can take two ways!)

That to me actually isn’t the most interesting feature, though. Adding a big tempo control means you can actually ignore that sync selling point and manually nudge drum patterns in tempo with other music. Now, that’s not to say that’s something people will do, but I’d love to see more manual controls for feel and tempo on machines. (Imagine tactile control over the components of a rhythm pattern, for instance. We’ve mostly envisioned a world in which our rhythmic machines are locked to one groove and left there; it doesn’t have to be that way.)

Giving DJs a familiar control layout (well, bits of it, anyway), is also a plus in certain markets.

But all of this is aimed at much at the club as it is the DJ. Looking at this thing, it’s apparent what Pioneer are hoping is that clubs begin to buy samplers alongside decks. That enclosure, apart from saving some costs for Pioneer through standardization, is a big advert that screams “you bought CDJs, now buy this.”

That leap isn’t inevitable, though. The form factor that makes the DJS-1000 smart for a club doesn’t necessarily make sense in the studio. I might buy a square SP-16 for less money, but … not a DJS-1000, because it’s now ungainly and big and completely absurd to travel with. A lot of DJs would buy a CDJ for their studio to practice on – but Pioneer doesn’t really make one that fits those DJs budgets. (Ironically, the DJs who could afford buying their own CDJs – the ones gigging all the time – have enough hours on the CDJ that I don’t know even one who has bought decks for themselves. I think they’re glad to have a vacation from the damned things.)

The fundamental question remains: will DJs actually start playing live or hybrid sets? The gamble Pioneer is making is “build it and they will come,” effectively.

I’ve tried to find out if the Toraiz range are having that impact. Certainly, some DJs are buying them. A lot of producers, are, too – particularly the lovely AS-1 synth, which holds its own with competing synths so well that you can easily forget the Pioneer logo is even there.

But there’s still a big, big divide between live acts and DJs. Most producers playing live will want to arrange their own gear. And once you’re playing live, even if you decide to play a hybrid set, you’re more likely to want to augment the live set with CDJs than to switch to Pioneer for samplers. You wouldn’t buy a DJS-1000, probably, given the whole Elektron range is as affordable or cheaper – the Digitakt is half the price of this, does more, and is more portable.

But if Pioneer isn’t selling to you, but to clubs, then you can figure the strategy is this:

1. Get SP-16 owners to bring a USB stick and plug into the DJS-1000 they find in clubs – that’s cool.

2. Get DJs preparing sampled sets on computers, then bringing them on USB sticks. That’s huge.

3. Get some DJs who haven’t worked much with samplers to toy around with the ones they find appearing in booths – the gateway drug effect.

#3 is more unpredictable; #1 and #2 aren’t. And don’t underestimate the power of Pioneer’s massive sales and marketing operation, which does extensive outreach to clubs and artists. That “industry standard” thing didn’t just happen accidentally.

Pioneer hopes clubs will invest in something like this press photo, of course.

I don’t think this means Pioneer will become an industry standard in live gear. But it does help them to expand beyond just decks, and ironically could help vendors like Elektron who are more live focused.

The real question isn’t for Pioneer, then: it’s for Native Instruments and Ableton. Home and studio use still seem to benefit from computer-software combinations. But the competition in live use is increasingly standalone hardware. We’ll see if the two Berlin software giants’ bet that people will still want to work with computers was a smart one — or if it means missed opportunities for Maschine and Live/Push. (TRAKTOR, for its part, has clearly lost ground. I’d love to see a TRAKTOR 3 that worked as portable standalone hardware, a deck combo you could take anywhere, but I’m not so optimistic.)

But I fully expect some of these DJS-1000s to start showing up in the nicer booths around.

The post Pioneer made a CDJ-shaped sampler – what does that mean for DJs? appeared first on CDM Create Digital Music.