Moog Matriarch puts all your analog sound shaping in one keyboard

Moog has taken the elements of their semi-modular line and given it a flagship – a patchable, calico-colored keyboard with sequencer, 4-voice paraphonic synth, and effects in one keyboard.

The pitch: even before you plug in cables to the copious patch points here, you can quickly get evolving strings of dreamy chords (or rich melodies), complete with delay and modulation. Those extra (analog, they want you to remember) specs aren’t just about more features. They’re about dialing in imaginative sounds. And so the Matriarch is an all-in-one keyboard that draws from Moog’s modular legacy, but in an integrated design you can use both with and without patching.

We’re definitely living in a weird timestream. When I started writing about music tech and joined Keyboard in the early 2000s, “workstation” keyboards were digital affairs, with functionality hidden deep in menus and screens. The key was to put as many instruments as possible – analog synthesis being seen as something retro and niche. Moog for their part had the Voyager, which took the Minimooog line in the direction of new analog exploration. But even Moog’s offering was primarily connected with MIDI cables, and had a touch panel right on the front.

Now, CV and gate – analog interconnects – are standard equipment alongside MIDI. People are happy to twist knobs rather than just dial up presets. (We, uh, could have told manufacturers that all along. Here’s a hint: if it’s fun, we’ll like it. Hence the term “play” music.)

And even if Moog are still (happily) outside the mainstream, there’s nothing saying their Matriarch has anything but broad appeal.

So here’s a keyboard proudly with wires popping out the top. And while Moog prominently tout “all-analog signal path” and “retro” design, we’re really seeing ourselves back in the parallel universe where analog synthesis never went away. On one hand, we’ve come full circle to some of the features first introduced in analog synthesis, but now it’s clearer what they’re for and how to make them more accessible. So for all its 1970s-derived features (Moog name included), the Matriarch is inventive in a way that makes sense in 2019.

Moog are pulling from the modular world, too, more aggressively than ever. Not only is this patchable, but the design does imagine a series of modules. So you get Minimoog oscillators, a mixer, classic Moog filters, envelopes and sound shapers. They’ve also built in a sequencer/arpeggiator.

The voice configuration allows mono, duo, and paraphonic playing modes, plus you have four notes per step in the sequencer.

My sense is what will make this interesting is the multiple modes on the filters combined with a Moogerfooger-like analog delay and tons of modulation. So you have dual ADSR envelopes and dual analog amplifiers, and two filters you can use in parallel or stereo or series. The delay is stereo (and ping/pong if you want) up to 700 ms – still waiting on Moog to tell me how short that delay can go.

Oh yeah, and ring mod possibilities also sound interesting. Plus they’ve got mults in there for making patching deeper onboard.

Specs:

Mono, duo, and 4-note paraphonic playability
Stereo analog delay with up to 700ms of stereo or ping/pong style repeats
256-step sequencer with up to four notes per step and 12 stored patterns
Arpeggiator with selectable modes (Order, Forward/Backward, Random)
Semi-modular analog synthesizer—no patching required
90 modular patch points for endless exploration
Expressive 49-note Fatar keyboard with patchable velocity and aftertouch
Four analog oscillators with selectable waveshape and hard sync per-oscillator
Full-range analog LFO with six selectable waveshapes
Dual analog filters with parallel (HP/LP), stereo (LP/LP), and series (HP/LP) modes available
Dual analog ADSR envelopes
Dual analog VCAs
Three bipolar voltage controlled attenuators with ring mod capability
2×4 parallel wired unbuffered mults
Additional simple analog LFO useful for adding modulation to delay, filters and VCAs
1/4″ external audio input for processing guitars, drum machines, and more through Matriarch’s analog circuits
Stereo 1/4″ and 3.5mm Eurorack level audio outputs

This is a Moog and a “flagship,” so it doesn’t come cheap – US$1999. That’s not to complain about the price, but it does mean if you’re in that budget, you have a lot of options. (Sitting next to me as I write this is Polyend’s Medusa along with Dreadbox, which has 6 voices instead of four, and some digital oscillators and modulation options that take it in a radically different direction from the Matriarch. Oddly, people complained about its price, and it costs half as much.)

I would personally be pretty tempted by Moog’s own Grandmother, the Matriarch’s baby sibling – with a street price around $800. It’s a monosynth, and the whole architecture is scaled accordingly. (It also has a spring reverb tank in place of the Matriarch’s delay). But you could use the saved money for a little Eurorack skiff.

That said, the Matriarch is a thoughtful, colorful, appealing new top-of-the-line for this family of Moogs. And it gets a Moogfest limited edition at the festival happening now – plus a lot of artists gathered who I’m sure will really want one.

https://www.moogmusic.com/news/introducing-matriarch

The post Moog Matriarch puts all your analog sound shaping in one keyboard appeared first on CDM Create Digital Music.

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

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.

Pioneer Squid is a monster standalone sequencer for your gear

Forget for a second that Pioneer is the CDJ and DJM company. Their latest TORAIZ goes a radical new direction – making what might be the biggest mainstream hardware sequencer since the MPC and Octatrack.

But a deep sequencer with MIDI and CV, for 599€ (awaiting US pricing details) – that sounds like a blockbuster.

The rise of gear for making sound has left a fairly significant hole in the market. You’ve got tons of drum machines, tons of synths, tons of grooveboxes, and then a whole black hole of semi-modular and fully-modular instruments.

But what about making, you know – a song? There aren’t so many choices for actually pulling together rhythms and melodies on all those toys. You’ve got a mishmash of internal sequencing features and devices capable of multiple tracks. But there are limited options beyond that – used Akai MPCs, the Elektron Octatrack, and Arturia BeatStep Pro being most common. The Arturia piece is cheap and cheery – and shows up astride an amazing number of fancy Eurorack rigs, prized for its simplicity. But having just dusted mine off, I find its sequencing really limited.

So here’s the surprise: the company that promises a really deep sequencer, one with elaborate rhythmic features that happily get you off the grid and bending time if you want, is … Pioneer.

The SQUID is certainly in a funny position. On one hand, it’s a natural for real gearheads and synth nerds. On the other, it’s a Pioneer product, so you can bet marketing and DJ press alike will try to say this is about “DJs getting into production” or … something. (No! DJs! Stop while you still can have a social life and, like, money in your bank account! You’ll become broke antisocial hermits like the rest of us!)

But – who cares who this is for? What it does appears to do … is a hell of a lot. And while it might actually have too many features (that will be I think the main element of any test), what’s surprising is that it isn’t a me-too sequencer. Despite the pads and step structure, Pioneer have made an effort to let musicians get off the grid and bend and warp time – so maybe drum machines can have soul again.

First, the predictable bit – it is a pad-based step sequencer, yes:

16 multicolored LED rubber pads with velocity sensitivity
Step record patterns
Live / real-time recording
Scale mode
Per-step automation recording (at least it seems that way – “parameter locks” or p-locks as known to users of other hardware)
Interpolation – this lets you set a beginning, middle, and end on steps and let the machine transition between them, a bit like creating automated envelopes
Harmonizer with up to six chords assigned to buttons
Chord mode with 18 built-in chord sets (I’m curious how customizable this is, as I’d rather the machine not make harmonies for me)
Transpose phrases on the fly
Up to five MIDI CCs on external devices
Randomizer (which covers everything, even CCs)
Pattern Set – this is interesting; it lets you lock in a combination of patterns into an arrangement, a bit like you can do with scenes in Ableton Live

And you can run sequences in different directions (bounce, reverse, whatever), as expected.

Multiple loops. Trigger probability – yeah, Pioneer are ready to take on Elektron here.

Already appealing and powerful, but it’s the real-time manipulation features that go in a new direction.

Speed modulation: look out, locked-bpm techno, because the SQUID can modulate speeds via six waveform shapes (triangle, sawtooth – please tell me there’s a random/S&H mode, too)

Groove bend: yes, there’s Swing, but there’s also “Groove Bend” which lets you use a slider to change timing. (I really hope there’s a way to optionally impact pitch, too, CDJ-style.)

Instant double-, half- speed triggers, too.

You can also shift the Scale and Arpeggiator knobs in real time, meaning… yeah, you can go super free jazz with this if you want.

There’s even an automatic mode that saves your jams even when you don’t hit record. (Ableton Live recently introduced this feature, joining a number of DAWs that have had it over the years.)

And yeah, it works with USB, MIDI, 2 sets of CV/gate, clock and DIN sync. It’s ready for your hardware from the 80s until now.

There’s even software for managing sequence patterns, projects, and MIDI clips – so you can save your work librarian style for live performances, and finish off tracks on the computer with patterns you made on the hardware.

Specs: 64 steps, 8 notes per step, 64 patterns, 128 projects.

I mean – we are sure this is a Pioneer product, right? Did someone get into our brains and make what we want?

I have a lot of questions. Step resolution seems fixed at 32nd notes, without mention of tuplets or other rhythms. I don’t see a listing for ppq resolution (the timing resolution of the sequencer). Performance reliability is something to test. Pioneer talks polyrhythms but I have some questions there.

But – wow. Yes. Let’s test this. Pioneer have so far given us some strange and mostly expensive “producer” devices lately, but this is different. This looks like it has the first shot of being the Pioneer gear every producer wants to buy – not just the Pioneer gear you use when you show up at the club. I can’t wait to get my hands on this so we can share with you what it does and how it might (or might not) fit your needs.

Obligatory promo video. Uh… someone stole Native Instruments’ typography and sci-fi light effects. But no matter – Pioneer made this device before NI did. (Okay, I’m buying the next round of beers in Kreuzberg after that comment, sorry, but it had to be said.)

The competition? It’s boutique, for sure, but the Synthstrom Deluge is the real rival:

It’s more compact than the Pioneer. And this really comes down to whether you want a 4×4 grid with a lot of dedicated triggers, or a whole bunch of pads and the Synthstrom’s nested editing capabilities. What’s really, really nice about the Deluge is, it has an internal synth engine and even sample playback. And ironically, that makes the Deluge better suited than Pioneer’s offering to taking a live project into a DJ booth – because you don’t have to reserve an entire table full of gear just to make sounds. That said, I think making a product dedicated to sequencing does free up the designers to focus on that workflow.

There should be room for both in the market; the workflow is very different, even apart from Synthstrom’s internal sound engine.

I feel bad I haven’t given the Deluge more time on CDM, so – now, no more excuses, I’ll get both these units in for a proper test.

All product details:

https://www.pioneerdj.com/en-us/product/production/toraiz-squid/black/overview/

I’m a child of the 80s, but every time Pioneer writes that this is “the heartbeat of your studio,” I think of old Chevrolet “heartbeat of America” ads. Is that just me? Okay, it’s just me.

The post Pioneer Squid is a monster standalone sequencer for your gear appeared first on CDM Create Digital Music.

Founder of music tech forum has died; outpourings of support for Mike McGrath

One of the largest forums for music tech nerd-kind this week reports the loss of its founder: Muff Wiggler’s creator, Mike McGrath, has died. The Internet responds.

I want to first say, my heart goes out to all of you who have lost a friend, a family member, a personal connection, or even a far-off but meaningful Internet connection.

Muff Wiggler, the forum, has for more than a decade been the single most influential online community for people interested in modular synthesis, as well as a range of DIY topics – it’s a common go-to for how-to documentation on electronics, among other topics. It has also hosted widely trafficked official forums for a number of brands, including the likes of Expert Sleepers, Hexinverter, Metasonix, and Snazzy FX. It’s been the object of love, of hate – but always has played a central role in conversations about music making technology and the voltage and circuits pulsing underneath.

And it’s worth saying that the whole project really began with one person, Mike – known by many exclusively online, but host to a community of strangers who often grew close. Like a lot of the blogs and forums that support the music tech community, Muff Wiggler and its creator have even become synonymous. I know personally how demanding that can be.

It wouldn’t be any exaggeration to say that part of the explosive growth of Eurorack and modular synthesis is because of Mike’s creation of the forum – one that inspired rabid consumers at the same time as it collected knowledge of how to engineer the modules.

Photo above, at top by I Dream of Wires, who interviewed Mike in their work on the evolution of the modern modular synthesis fandom.

The Muff Wiggler platform grew into other projects – a store, live events (like a collaboration with TRASH AUDIO in Portland, Oregon), and others, which helped people meet the man behind the forum in person, some of them flying from literally the other side of the world to do so.

About that name – it comes from a handle Mike chose that combined the names of two popular Electro-Harmonix effect pedals, Big Muff and The Wiggler.

For their part, a message from Muff Wiggler’s team promises they’ll keep the site going in Mike’s absence. Kent writes on a admin post: “The moderator and admin staff are going to take the needed time to get things in order and ensure the smoothest of possible transitions. It’ll be rough for a bit.”

In the meantime, there is an outpouring of sadness and gratefulness from people who knew Mike personally and those who knew him in the virtual arena – from the community of people for whom he created a home where none had existed.

The main thread on Muff Wiggler

Synthtopia obituary

Modular giant Ken MacBeth writes: “Mike McGrath……….I hope that you find your peace now……..RIP.”

Mike himself wrote in 2017 about his passion for the project in a Facebook Group, saying it began from wanting to learn about modular synthesis, amidst options that were “intimidating” – to create instead a place where you could make friends. And he talked about the importance of music and his machines in his personal life – in good times and in dark times.

Matrixsynth has a heartfelt obituary which traces some history – even before the forum, including the first blog posts by Muff Wiggler (back when it was just Mike’s alias):

Mike created the de facto modular synth forum on the internet … and he did it in a way that put members first. He created a platform for makers and users of synths to come together and engage directly with each other.

And yeah, I think all of us who have run enterprises on the Internet for music feel this one in our gut. Again quoting the mighty Matrixsynth:

I just can’t believe he is gone. As the host of this site, I feel like I lost a fellow compatriot. Someone I had history with through the ups and downs. Running a site can be a challenge, and just knowing he was out there doing his thing helped. I am going to miss him and the lost experiences we would all have had with him around.

RIP Mike McGrath of Muff Wiggler

Finally, long-time collaborator Surachai writes, “Mike is the connective tissue that bound almost every modular user when information was scarce.”

He goes on to say:

I invited whoever was interested in welcoming the overlord of the synthesizer community to a BBQ at my place and we were met with one of the kindest and smartest people to grace our lives….

His contributions to and maintenance of information cannot be overstated. His reach and ability to connect people cannot be overstated.

Mike McGrath / Muffwiggler

You’ll also find some videos online.

http://muffwiggler.com/

https://www.muffwiggler.com/forum/index.php

The post Founder of music tech forum has died; outpourings of support for Mike McGrath appeared first on CDM Create Digital Music.

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

Machine learning is synthesizing death metal. It might make your death metal radio DJ nervous – but it could also mean music software works with timbre and time in new ways. That news – plus some comical abuse of neural networks for writing genre-specific lyrics in genres like country – next.

Okay, first, whether this makes you urgently want to hear machine learning death metal or it drives you into a rage, either way you’ll want the death metal stream. And yes, it’s a totally live stream – you know, generative style. Tune in, bot out:

Okay, first it’s important to say, the whole point of this is, you need data sets to train on. That is, machines aren’t composing music, so much as creatively regurgitating existing samples based on fairly clever predictive mathematical models. In the case of the death metal example, this is SampleRNN – a recurrent neural network that uses sample material, repurposed from its original intended application working with speak. (Check the original project, though it’s been forked for the results here.)

This is a big, big point, actually – if this sounds a lot like existing music, it’s partly because it is actually sampling that content. The particular death metal example is nice in that the creators have published an academic article. But they’re open about saying they actually intend “overfitting” – that is, little bits of samples are actually playing back. Machines aren’t learning to generate this content from scratch; they’re actually piecing together those samples in interesting ways.

That’s relevant on two levels. One, because once you understand that’s what’s happening, you’ll recognize that machines aren’t magically replacing humans. (This works well for death metal partly because to non connoisseurs of the genre, the way angry guitar riffs and undecipherable shouting are plugged together already sounds quite random.)

But two, the fact that sample content is being re-stitched in time like this means this could suggest a very different kind of future sampler. Instead of playing the same 3-second audio on repeat or loop, for instance, you might pour hours or days of singing bowls into your sampler and then adjust dials that recreated those sounds in more organic ways. It might make for new instruments and production software.

Here’s what the creators say:

Thus, we want the out-put to overfit short timescale patterns (timbres, instruments, singers, percussion) and underfit long timescale patterns(rhythms, riffs, sections, transitions, compositions) so that it sounds like a recording of the original musicians playing new musical compositions in their style.

Sure enough, you can go check their code:

https://github.com/ZVK/sampleRNNICLR2017

Or read the full article:

Generating Albums with SampleRNN to Imitate Metal, Rock, and Punk Bands

The reason I’m belaboring this is simple. Big corporations like Spotify might use this sort of research to develop, well, crappy mediocre channels of background music that make vaguely coherent workout soundtracks or faux Brian Eno or something that sounded like Erik Satie got caught in an opium den and re-composed his piano repertoire in a half daze. And that would, well, sort of suck.

Alternatively, though, you could make something like a sampler or DAW more human and less conventionally predictable. You know, instead of applying a sample slice to a pad and then having the same snippet repeat every eighth note. (Guilty as charged, your honor.)

It should also be understood that, perversely, this may all be raising the value of music rather than lowering it. Given the amount of recorded music currently available, and given that it can already often be licensed or played for mere cents, the machine learning re-generation of these same genres actually requires more machine computation and more human intervention – because of the amount of human work required to even select datasets and set parameters and choose results.

DADABOTS, for their part, have made an entire channel of this stuff. The funny thing is, even when they’re training on The Beatles, what you get sounds like … well, some of the sort of experimental sound you might expect on your low-power college radio station. You know, in a good way – weird, digital drones, of exactly the sort we enjoy. I think there’s a layperson impression that these processes will magically improve. That may misunderstand the nature of the mathematics involved – on the contrary, it may be that these sorts of predictive models always produce these sorts of aesthetic results. (The same team use Markov Chains to generate track names for their Bandcamp label. Markov Chains work as well as they did a century ago; they didn’t just start working better.)

I enjoy listening to The Beatles as though an alien civilization has had to digitally reconstruct their oeuvre from some fallout-shrouded, nuclear-singed remains of the number-one hits box set post apocalypse. (“Help! I need somebody! Help! The human race is dead!” You know, like that.)

As it moves to black metal and death metal, their Bandcamp labels progresses in surreal coherence:

This album gets especially interesting, as you get weird rhythmic patterns in the samples. And there’s nothing saying this couldn’t in turn inspire new human efforts. (I once met Stewart Copeland, who talked about how surreal it was hearing human drummers learn to play the rhythms, unplugged, that he could only achieve with The Police using delay pedals.)

I’m really digging this one:

So, digital sample RNN processes mostly generate angry and angular experimental sounds – in a good way. That’s certainly true now, and could be true in the future.

What’s up in other genres?

SONGULARITY is making a pop album. They’re focusing on lyrics (and a very funny faux generated Coachella poster). In this case, though, the work is constrained to text – far easier to produce convincingly than sound. Even a Markov Chain can give you interesting or amusing results; with machine learning applied character-by-character to text, what you get is a hilarious sort of futuristic Mad Libs. (It’s also clear humans are cherry-picking the best results, so these are really humans working with the algorithms much as you might use chance operations in music or poetry.)

Whether this says anything about the future of machines, though, the dadaist results are actually funny parody.

And that gives us results like You Can’t Take My Door:

Barbed whiskey good and whiskey straight.

These projects work because lyrics are already slightly surreal and nonsensical. Machines chart directly into the uncanny valley instead of away from it, creating the element of surprise and exaggerated un-realness that is fundamental to why we laugh at a lot of humor in the first place.

This also produced this Morrissey “Bored With This Desire To Get Ripped” – thanks to the ingenious idea of training the dataset not just with Morrissey lyrics, but also Amazon customer reviews of the P90X home workout DVD system. (Like I said – human genius wins, every time.)

Or there’s Dylan mixed with negative Yelp reviews from Manhattan:

And maybe in this limited sense, the machines are telling us something about how we learn. Part of the poetic flow is about drawing on all our wetware neural connections between everything we’ve heard before – as in the half-awake state of creative vibrations. That is, we follow our own predictive logic without doing the usual censoring that keeps our language rational. Thinking this way, it’s not that we would use machine learning to replace the lyricist. Rather, just as with chance operations in the past, we can use this surreal nonsense to free ourselves from the constraints that normal behavior require.

We shouldn’t underestimate, though, human intervention in using these lyrics. The neural nets are good at stringing together short bits of words, but the normal act of composition – deciding the larger scale structure, choosing funnier bits over weaker ones, recognizing patterns – remain human.

Recurrent neural networks probably won’t be playing Coachella any time soon, but if you need a band name, they’re your go-to. More funny text mangling from the Botnik crew.

My guess is, once the hype dies down, these particular approaches will wind up joining the pantheon of drunken walks and Markov Chains and fractals and other psuedo-random or generative algorithmic techniques. I sincerely hope that we don’t wait for that to happen, but use the hype to seize the opportunity to better educate ourselves about the math underneath (or collaborate with mathematicians), and see these more hardware-intensive processes in the context of some of these older ideas.

If you want to know why there’s so much hype and popular interest, though, the human brain may itself hold the answer. We are all of us hard-wired to delight in patterns, which means arguably there’s nothing more human than being endlessly entertained by what these algorithms produce.

But you know, I’m a marathon runner in my sorry way.

The post Now ‘AI’ takes on writing death metal, country music hits, more appeared first on CDM Create Digital Music.

Behringer update: TC-Helicon hardware mimics IK Multimedia products

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)
TC-Helicon GO GUITAR PRO (IK Multimedia iRig HD 2)

See the original line of iRig products at IK Multimedia

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

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.

Free Downgrade turns Ableton Live into lo-fi wobbly vaporwave tape

Fidelity? High-quality sound? No – degradation! And if you don’t have a ragged VHS deck or cassette Walkman handy, these free effects racks in Ableton Live will sort you out.

Downgrade is the work of Tom Cosm, long-time Ableton guru. There are five effects:

Fluffer
Corrupt
Hiss
Morph
Flutter

— plus if you give him literally US$1 or more (you cheapskate), you get an additional Stutter rack.

Basically, you get loads of controls for manipulating downsampling, tape effects, saturation, distortion, modulation of various kinds, echo, vocoder, and more. It’s a sort of retro Vaporwave starter kit if you’d like to think of it that way – or an easy, dial-up greatest hits of everything Ableton Live can now do to make your sound worse. And by worse, I mean better, naturally.

Ableton have been gradually adding all these digital downsampling features (early on) and simulated analog tape and saturation effects and nonlinear modulation (more recently). Tom has neatly packed them into one very useful set of Racks.

Notice I say “Racks,” not Max for Live devices. That means these will mostly run on different editions of Live, and they’re a bit easier to pick apart and adjust/modify – without requiring Max knowledge.

Go download them:

https://gumroad.com/l/wmIbJ

The post Free Downgrade turns Ableton Live into lo-fi wobbly vaporwave tape appeared first on CDM Create Digital Music.

Novation’s Bass Station II just got an Aphex Twin mode, crazy features

The Aphex Twin-ification of synths continues – and who’s complaining? Novation’s Bass Station II gets some mind-warping mental sound features, including key-by-key madness from Richard James.

Bass Station II is the powerful analog monosynth from Novation, with sub oscillator, extra acid filter, ring mod, loads of hands-on controls, an arp and keyboard, and all the extras. And like Novation’s full range, it’s also been getting double-stuffed after the fact with extras via firmware updates.

In this case, the headline feature just happens to come from a concept by sonic experimental legend Aphex Twin aka Richard James.

It’s not his first time – as he’s done with some other makers, he encouraged sound design features on the Bass Station II before, in the form of micro-tuning. (Thanks, Richard, for advocating for this feature! Let’s join the revolution.)

So behind unassuming version 4.14, you get an “AFX mode” to get more Aphex Twin-y, and other features:

  • AFX Mode: key-by-key parameters on every note morph your sound (whoa)
  • Fixed duration envelopes (decay slider sets only the duration of the sustain stage instead of when envelopes release)
  • Detunable sub oscillator (so both macro and fine tuning controls can be applied to the sub – that’s the low oscillator beneath)
  • Envelope retrigger count (useful for drum synthesis)
  • Oscillator glide diverge – lets you set the glide time of oscillator 2 relative to oscillator 1 for… uh, diverging glides (think thick, gooey sounds and portamento special effects)

These are actually all potentially useful and deep, but AFX mode is both the most compelling – and the weirdest to explain. Here’s a demo video from Novation’s CALC:

So the basic idea here is, you assign synthesis parameters to each note. It’s a little like having sliced up samples and spread them around the keyboard, only here you’ve done it with different sound parameters. And this goes in different directions – different sounds that you play as an ensemble like a drum kit, what Novation describe as “seed” variations of a single patch, or more nuanced shifts up and down.

Really, it’s an extension of what all keyboard assignments do – only they normally do it only with pitch and crude tracking of pitch to one or two other parameters. Here, you can go further.

Really, it’s a slight misnomer to only make Aphex Twin references here, as you could get quite subtle and practical. But it’s also exciting to imagine going off the deep end with a single, mad preset.

I know people tell me the millennials like video better than reading or something or other like this, so I’ve captured a video of a prominent YouTube influencer trying AFX Mode for the first time and showing his reactions:

And yeah, CALC is … a busy, busy man.

Hella fun to play with. I wonder if something similar might be applied to the Circuit Mono Station. Let’s watch.

https://novationmusic.com/synths/bass-station-ii

The post Novation’s Bass Station II just got an Aphex Twin mode, crazy features appeared first on CDM Create Digital Music.

Reason 10.3 delivers on VST performance promises

We’ve been waiting, but now the waiting is done. Propellerhead has added the VST performance boost it had promised to Reason users – meaning plug-ins now benefit from Reason 10’s patchable racks.

I actually flew to Stockholm, Sweden back in the dark days of December to talk to the engineers about this update (among some other topics). Short version of that story: yeah, it took them longer than they’d hoped to get VST plug-ins operating as efficiently as native devices in the rack.

If you want all those nitty-gritty details, here’s the full story:

Reason 10.3 will improve VST performance – here’s how

But now, suffice to say that the main reason for the hold-up – Reason’s patchable, modular virtual rack of gear – just became an asset rather than a liability. Now that VSTs in Reason perform roughly as they will in other DAWs, what Reason adds is the ability to route those plug-ins however you like, in Reason’s unique interface.

Combine that with Reason’s existing native effects and instruments and third-party Rack Extensions, and I think Reason becomes more interesting as both a live performance rig and a DAW for recording and arranging than before. It could also be interesting to stick a modular inside the modular – as with VCV Rack or this week’s Blocks Base and Blocks Prime from Native Instruments.

Anyway, that’s really all there is to say about 10.3 – it’s what Propellerhead call a “vitamin injection” (which, seeing those dark Swedish winters, I’m guessing all of them need about now.

This also means the engineers have gotten over a very serious and time-consuming hurdle and can presumably get onto other things. It’s also a development for the company that they’ve been upfront in talking about a flaw both before, during, and concluding development – and that’s welcome from any music software maker. So props to the Props – now go get some sunshine; you’ve earned it. (and the rest of us can tote these rigs out into the park, too)

Reason: what’s new

The post Reason 10.3 delivers on VST performance promises appeared first on CDM Create Digital Music.