Roland has registered the 303, 808 designs as trademarks

Roland has quietly filed for trademark protection (Unionsmarkenanmeldung) in Germany for the designs of the TB-303 and TR-808.

The filings were uncovered by a poster on the sequencer.de forum. The discussion is in German:

Roland versucht aktuell sich die 808-Farben und das 303-Design als Marke schützen zu lassen [sequencer.de]

https://register.dpma.de/DPMAregister/marke/registerHABM?AKZ=018016159&CURSOR=34

https://register.dpma.de/DPMAregister/marke/registerHABM?AKZ=018016158&CURSOR=33

The “trademark” here is trade dress, the design of the actual appearance of the 303 and 808 – the signature layout of the keyboard and knobs of the 303, and the sequence of colored buttons on the 808. “Iconic” is a word that’s wildly overused, but here we can take it to be almost literally true: you can draw out these layouts and even a lot of lay people with a passing interest in electronic music will immediately recognize this bassline synth and drum machine.

Forum posters conclude that this is about Behringer, who announced last month at the NAMM show that they would ship their “RD-808” drum machine – matching the original TR-808 color scheme and button layout – in March. But the registration in Germany could be a sign Roland are generally planning to more aggressively protect their intellectual property, in respect to Behringer or others. And as the RD-808 could, for instance, wind up being subject to litigation outside Germany – that is, anywhere the drum machine ships.

That said, Behringer without fanfare reversed the order of the colors on their RD-808, from a production prototype (orange / light orange / yellow / white, as on the original Roland) to what was shown at NAMM.

The one thing I can say for sure is – the artwork Roland filed from Japan is gorgeous. So, Roland, please don’t sue us for sharing. (And yeah, I’d buy this if you want to turn it into merch.)

No idea how long processing will take, or really how the law works; if I can find out, I’ll share. At least Germany should appreciate the aesthetics of combining gold, bright red, and black – check the flag.

Meanwhile, in America… Roland last year filed applications for trademark protection in the USA for the TR-808 and TR-909 (also right after the NAMM show, January 25, 2018). You can find these (pending) applications at the United States Patent and Trademark Office, under 87769864 and 87769891.

It’s routine practice to file for things you might want to protect, not necessarily manufacture, but that doesn’t make it any less privately amusing to read this list of apparel that would be covered under that application:

“Jackets; sweaters; sport shirts; polo shirts; shirts; overcoats; raincoats; underwear; pajamas; undershirts; Tee-shirts; wind-resistant jackets; swimming costumes; sleep masks; neckties; aprons; socks and stockings; bandanas; headwear; caps as a headwear; hats”

I totally want a Roland swimming costume. But yeah, if you’re thinking of making one yourself, you should read this:

https://www.roland.com/global/company/intellectual_property/

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A DIY machine imagines 808 kicks if they were made of actual fire

Anyone can clone an 808. Not anyone can make a machine inspired by the 808 out of repurposed lighter springs, motors, and … oh yeah, flaming butane gas. Koka Nikoladze’s beat machines are going viral, and their demented, quirky sound tells you why.

So, sorry NAMM – this may be the coolest gear we’ll see in January 2019.

And not only is the concept novel, but his wacky tunes make for some toe tapping, eyebrow-raising good times, too.

Full text:

I always wanted to build something using fire. Here is my first attempt. The small prototype works.

Releasing tiny bursts of butane gas on an open fire source sounds pretty much like a kick. By adjusting the distance and the pressure, it can get very close to 808. This is just a tiny model. I’m going to build a BIG Koka’s Fire Kick unit for live shows.

The rest is quite simple, I used a brass tube as a hat and some springs extracted from empty lighters, in a wooden box — as a snare; oh yes, and a DC motor that I managed to bring back to life by rewinding coils.

I’m dancing closer to the idea of setting up my first proper dance music production. Not necessarily the type of music from Beat Machine demonstration videos, much more complex and sophisti.. .. well, never mind. We’ll see what happens. I’ve already discussed this with an army of hyper-incredible artists willing to collaborate.

Only if I manage to get hold of Snoop Dogg in addition, maybe, some day :D. Ok, joking aside, wouldn’t it be amazingly surreal? Snoop with a small tight beat machine and a symphonic orchestra behind. I’d play the bass, and dance.

We’re seeing a growing trend in not analog, not digital, but kinetic – mechanical – physical instruments. It’s still tech – it’s just back to doing things with mechanics and physics, perhaps still informed by the lessons of code and circuits. On the fire side, of course, this is also kind of a miniaturized take on pyrophones, flame-powered organs and other instruments.

And while obviously part of the battle here is to be one step ahead of everyone else on the quirk factor, topping social media, I suspect there’s also potential in a scene around this sort of music. Physical music fests? We’ll see.

Previously on these lines:

A Robotic, Physical 808 Machine Advances Weird Science of Music, Tech Alike

— which over the years has led to this:

Watch futuristic techno made by robots – then learn how it was made

Oh and – the pyrophone built by musical robotics pioneer Eric Singer was one of the first ever stories on this site:

Pyrophone: Flaming Sound Organ Powered by Propane

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Elektron’s Model:Samples is a hands-on, $449 sound box

What if you could take the deep powers of an Elektron groove box, but bring them to the surface? And what if that box were small and cheap? That’s the first impression of the Model:Samples – and it could add up to a big hit.

Elektron has always been about giving us powerful, inventive music machines as standalone hardware. They still reign supreme in live dance music sets – certainly in Europe, if you see “live” on the bill at a club, you can expect the appearance of an Elektron machine or two as the most likely interpretation. But the price of those machines is learning your way around menus and shortcuts. Some people take to it right away, and some just don’t. And then there’s the monetary price – well into four digit sticker shock, which can be intimidating to new users.

That changed with the Digitakt and Digitone – compact boxes with more focused feature sets and more of a focus on hands-on control. And the Model:Samples goes further: one-to-one physical controls for most features, and an even lower price.

So make no mistake: the Model:Samples is probably aimed first at newcomers to the Elektron brand. (Though I can bet we’ll see Elektron lovers augment their rig with these for extra hands-on control.) Online commenters are comparing this to the used price of other Elektron machines, but that ignores the angle here: simplicity and hands-on control.

Model:Samples looks like a powerful groove-based tool with tons of immediacy. It’s also a real shot across the bow of KORG – entering the price range of the electribe sampler, but with some Swedish sequencing workflows. Spännande!

Take that, East Coast / West Coast – Elektron even reference their “ragged Swedish shoreline.” So let’s dive in like we’re taking a brisk swim in the Kattegatt!

It’s six tracks, sample playback based. (You can load your own sounds, but there’s no live sampling capability.)

Blah blah, 300 samples from Splice, yadda yadda, yes there’s a kick and snare drum and “never-before-heard alternatives.” (Uh, okay. “I’ve heard things you people wouldn’t believe. Castanets sampled from attack ships on fire off the shoulder of Orion. A cowbell glittering in the dark near the Tannhäuser Gate.” Sorry, lost my train of thought.)

But everything else is about tons of control – and that’s where this gets interesting, once you start manipulating those tracks:

Control All to manipulate multiple sounds at once, with Reload to get back where you started
Chromatic mode for melodic control
Parameter Locks – per-step automation, and even per-step sounds (depending on how much mayhem you want to make)
Six samples at once – which they’ve cleverly limited to the number of things you have in a kit
Swap multiple samples, a kit at a time
Chance parameter (which you can combine with Control All)
Per-track step length
Per-track tempo multiplier
Per-track swing
Record with or without quantization – both parameters and notes

There are other drum machines and grooveboxes out there, but this looks like a real winner in the price range, at least when it comes to rhythmic flexibility and hands-on parameter control.

There’s also a flexible architecture. You get 6 audio tracks – each of which can also be MIDI tracks, making this an effective sequencing box for gear, too. 96 projects, with 96 patterns per project.

Each of the six tracks gets its own sample engine, resonant multimode filter, and assignable LFO.
Then you can route via sends to delay and reverb.

There’s 64MB of sample memory, but you can store up to 1GB of samples, which you load over USB. Everything connects via class-compliant USB audio 2.0, and you get a dedicated headphone out and 2x balanced main outputs. MIDI is delivered via in and out/thru minijacks – now manufacturers are fast adopting that minijack standard for MIDI.

They also promise a battery pack at a later date so you can use this on the go.

Dimensions:
W270 × D180 × H40 mm (10.63 × 7.09 × 1.58″) (including knobs and rubber feet)
Weight: approximately 0.814 kg

Price here in Europe is 460EUR, $449 USD list. I think that means we could see a US street under $400 – which is a big winner, I think. Heck, this with the Digitone as a synth could be a complete studio. And having just praised the potential of the Akai Force, that could also mean people stick to à la carte gear for playing and go back to the more flexible computer for production. It’ll be fun to shake out these different combinations, though.

But that’s beside the point. Cheap, compact, lets you mangle samples with one-to-one knobs and has flexible rhythmic options that let you make polyrhythms and get off the grid – that’s a compelling combo. Add this to the must-watch list for the year.

https://www.elektron.se/products/modelsamples/

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Master your Roland TR-8S drum machine settings with a plug-in editor

Roland’s TR-8S added loads of parameters for shaping drum kits and effects. Now you can get at all of those without diving through menus with this VST/AU plug-in – and keep your drum machine settings stored with your project.

Hardware is great, but it introduces two problems. First, there are inevitably some parameters buried in menus that are hard to reach on the front panel, no matter how many knobs and faders makers add. Second, stuff you do on the hardware is likely to get out of sync with your DAW, leading to that invariable “what the Hell was this supposed to be?” feeling when you power things up. (Okay, sometimes that leads to happy accidents. Sometimes it just leads to misery.)

Momo Miller has been trucking through the full Roland range (plus KORG and Novation Circuit). He’s been adding plug-ins for just this reason. You get more accessible editing and control, and your settings stay inside your DAW projects for easy recall.

Now, first, what this isn’t: it isn’t a full-blown editor for the TR-8S. And it’s a shame, given Roland Cloud, that the manufacturer didn’t provide one. That also means loading custom samples on the TR-8S is a manual affair. This unofficial editor isn’t able to load sample files. And you don’t get full access to all of the TR-8S’ hidden parameters, like the deep settings per kit. So, Roland, if you’re listening – please, give us that.

You do, however, get a lot of access to parameters per sound and kit – basically, anything that has a MIDI CC assignment. And you can still save your changes on the hardware, for anything this controls. Plus you can save parameters separately in software. And there are some useful performance controller mappings.

Here’s what you get:

  • Full access to TR-8S parameters (as accessible via MIDI)
  • Control effects via custom-mapped X/Y performance controllers
  • Automation of parameters inside your DAW
  • Save parameter data with your DAW – including which kit was selected, which is invaluable on its own
  • Interactive visual display
  • 32-bit and 64-bit VST (Windows, Mac) AU (Mac) and standalone (Windows, Mac) versions

Have a look:

Price: 5,90€ / US$6.90

TR-8S editor/controller

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Noir is part bass, part drum synth – a must-have iOS drum machine

Dark, crunchy, synthetic sounds, grooves that morph somewhere in the shadows between bass line and percussion pattern – Ruismaker Noir is exactly the sort of drum machine you’d want with you at all times. And as it’s an iOS app, you can take it with you.

Here’s the idea: what if the drum synth were also a monophonic synth? And what if you could morph between those, for basslines that start to get edgier and more rhythmic, or rhythmic lines that start to get more melodic? And what if you had an integrated sequencer so you could mess with both of those at once (including all the mighty morphing modulation)? Well, uh, obviously the answer to that would be yes, please, I would want that.

Noir is the latest in the Ruismaker line from Dutch developer/designer Bram Bos. Bram has had a series of synthesis-focused drum machine apps for iOS mobile, and as if that weren’t already enough experience for you, he has a long history of plug-in development dating back to one of the first software drum machines ever.

But that’s the thing about developing electronic instruments – it’s often not about a single breakthrough but lots and lots of iteration. So Noir is the most full-featured of the Ruismaker series yet, but also reaches a new level of playability and sound. Sorry, that sounds like marketing copy, but having used Bram’s stuff over the years, I mean that from first-hand experience – I’ve watched him add those details and refine ideas as he goes.

And it comes at the right moment. You hear a lot of these sort of aggressive, synthetic sounds (uh, winter is coming for the northern hemisphere). But a lot of people use modulars to get them, which means you need a modular rig and some time in the studio. (Time, money, space … uh oh.) Plus, having this in an iPad app with an intuitive touch sequencer will also be a far shorter path to articulating a groove that’s in your head for a lot of people. And the results here are distinctive enough that even if you do have that modular rig, you might tinker around with this anyway.

You can also use a standalone mode to fine-tune presets, then jam with the plug-in later.

It’s built as a plug-in, so you can use it with DAWs like Cubasis, Garage Band, and Modstep. Or combine it with other drum machines like Elastic Drums for some serious drum mayhem.

Delicious with effects:

Specs:

– AUv3 (Audio Unit) plugin, with integrated sequencer
– Basic standalone mode for tinkering or preset creation
– Universal; runs on any iDevice with iOS10 or higher
– All parameters accessible via MIDI CC and AU Params
– AU MIDI output from sequencer (requires iOS11+)
– Fullscreen plugin GUI in all compatible hosts
– Modest CPU and resource loads

This whole thing packs a lot into one app. There’s a full MIDI implementation, which means you could even make a hardware controller mapping if you like. But it’s also nice that the internal sequencer will do the job if you don’t want to switch back and forth to an app.

I have a feeling I may not sleep on my flight back from the USA to Germany as I’ll get sucked into playing with this. See you on the flipside.

The app:

https://itunes.apple.com/us/app/ruismaker-noir/id1441208874?ls=1&mt=8

User manual available on ruismaker.com

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The new Maschine Mikro is tiny – but now its workflows scale

Native Instruments this fall unveiled a bunch of low cost alternatives to its flagship producer products – and the one that perhaps attracted the most attention is Maschine Mikro. Can you fit more into a small package?

If you’re really into Maschine, here’s my advice: MK3. Full stop. The MK3 has the most expressive, playable pads of any of the Maschine line. It’s got the same big display as the previous Maschine Studio – meaning you can make arrangements, adjust parameters without squinting, and set mix levels really easily. (None of that is possible on the Mikro.) And it has all the latest refinements, but it’s in a perfect form factor, as beloved on the original model and MK2.

It’s also reasonably compact. Maschine is my lifesaver for gigs because whatever may be in checked luggage (and therefore lost in checked luggage), you can fit Maschine MK3 into a backpack.

By comparison, I’m not fond of Push on the road, as I think its layout is better suited to studio creation than live performance, and it’s just a little bit bigger and a lot heavier than other devices – plus no audio interface. Small details, major difference if you’re playing fit-the-rig-in-the-backpack. And I know that sentiment is shared.

But there are times when you might want smaller, and you might be on a tighter budget – particularly if you’ve already invested in another controller.

So the Maschine Mikro is back. But this time, the pads are better, and while that display is small, you really can get away with using it. It could be ideal in a corner of your desk, and it’s more portable.

FACT Magazine have a great compact (natch) breakdown of how the Mikro works.

First, you inherit the touch strip and the note repeat from the rest of the line. That includes these clever performance effects, which are really quick to access from the touch strip. Note repeat and chord modes let you get away with squeezing lots of ideas onto a small palette — and, let’s be honest, they help you fake being way better at finger drumming than you actually are.

Sorry, might be projecting there. Better than I am, for sure.

And then there’s sequencing, too, which also scales well to this small form factor:

I’m personally sticking to the MK3 for one reason alone: the encoders to me are invaluable. I can load Reaktor Blocks instances in Maschine and then really shape sound on the encoders while keeping track of changing parameters on the displays. It’s like having a huge modular rig without the gear and back ache and debt. And I think the MK3 is good enough that it’s worth swapping in even the MK2 to get one – and certainly the MK1, which lacks the various workflow improvements and especially those great pads.

But I totally get the appeal of the Mikro.

I think ironically reducing that form factor finally lets you focus on learning some core features of Maschine and focusing on them. It looks like a no-brainer next to Ableton Push or an Akai APC or whatever you use as your DAW and controller arrangement (keyboards, etc). We’ve also seen previously how much musicality you can get just by focusing on the pads, as our friend Alan Oldham (DJ T-1000) took on even the first-generation model.

Cues: Detroit innovator Alan Oldham talks to us about techno, creation

So for getting out and playing, this is great stuff – and a bargain buy with the core software, a bunch of sounds, and a controller, too. I bet some people will get these as gifts – and have a great time.

https://www.native-instruments.com/en/products/maschine/production-systems/maschine-mikro/

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Moby verkauft seine große Drummachine-Sammlung …

Moby DrummachinesMoby Drummachines

… für einen guten Zweck, wie es so schön heißt. Moby ist ein konsequenter und entschiedener Mensch. Seine Sammlung wurde einige Zeit in der Blogosphäre herumgezeigt, jetzt ist Zeit zu handeln.

Eine Schrankwand voll mit klassischen Klopfern aller Zeiten und Richtungen, aber natürlich alte Zeiten. Das war eine Sammlung, die in diversen Videos auch zu sehen ist. Nun steht sie auf Reverb zum Verkauf ab 11. Oktober, also heute.

Moby bezeichnet sich als etwas besessen, was den Besitz von Drummachines angeht.

The Physicians Committee for Responsible Medicine heißt die Vereinigung an die der Erlös gehen soll. Das Ganze ist also eine Herzensangelegenheit und keine Not. Verkauft werden Synths und Platten.. Moby’s letztes Album ist Everything Was Beautiful, And Nothing Hurt vom März dieses Jahres.

Moby verkauft seine Drumcomputer

Die Vereinigung setzt sich auch für Dinge ein wie weniger oder möglichst keine Versuche an Tieren für Kosmetik, vernünftiges Essen für Krankenhäuser bis hin zur ethischen Forschung. Es geht ganz offensichtlich um mehr Menschlichkeit in der Medizin als eine Art Lobbygruppe im positiven Sinne. Es gibt ausreichend Information auf deren Site.

Der Nerd will vermutlich eher wissen, was man so kaufen kann. In kürzeren Worten ist das alles, von Rhythm Ace bis TR-909. Es wird schlicht und einfach alles verkauft, was interessant ist, inkl. DJs können Platten kaufen. Wer die Sachlage kennt, dürfte wissen, dass einige Maschinen ziemlich gute Preise erzielen werden. Andere sind vielleicht wieder so speziell oder älter, dass sie nicht ganz so viele Interessenten haben. Aber es wird eine nennenswerte Summe sein, die die Aktion generieren wird.

Viel Glück, Moby! Und an dich – Viel Spaß beim Finden und Kaufen, falls du dich als Käufer betätigen willst oder die Aktion gut findest – das wäre auch ein Support.

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  • Preview the sale here.

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ADSR 909 Day: 9 Production Master packs for $9 + FREE 909 Drum Samples

Production Master 909 Bundle saleADSR Sounds has launched a limited time sale on the Production Master 909 Bundle, offering a collection of 9 packs for only $9 USD! The bundle comprises Ambient Panoramas 2, Lavish Future Bass, Bass Hysteria, Malfunktion, Fluid Mellow Trap, Jersey Club & Neo Soul, Modern Urban Beats, Future Pop and Melodic Dubstep Voyage. Production Master […]

Hands-on: Roland’s #808day upgrade for the TR-8S is a blast to play

It’s a little thing, but it adds a lot when you’re playing live: STEP LOOP lets you repeat steps in a sequence as they play, without losing time. Here’s how it works, along with other updates to Roland’s TR-8S drum machine.

Roland’s version 1.10 firmware is out today, and the big new feature is called STEP LOOP. The basic idea:

Hold down a step to make it repeat.

Hold down multiple steps, and they repeat in order.

Release that step or steps, and the sequence continues in time. (LED feedback shows you that the sequence position advances even as you have steps triggered.)

STEP LOOP impacts the whole sequence, not just one part. To activate it, hold down SHIFT and INST PLAY. To exit the mode, just trigger any other sequence mode. Here is in action. Notice the visual feedback as I enter the mode, and what happens when I trigger one or more steps.

It’s hugely useful, because it lets you make fills and variations out of the existing material of a sequence – and you don’t ever drop out of time. It’s not the first drum machine to do this (the ElecTribe ES2 from KORG springs to mind, among others), but it’s hugely useful in this context. The TR-8S is already a great live performance feature, thanks to its flexible routing and I/O, ample controls, faders for volume, and the ability to load custom samples. STEP LOOP is then a perfect addition for live jamming, because it’s intuitive and rhythmic.

The TR-8S has been getting a steady stream of updates – the other huge one in 1.10 is the ability to preview samples. Here’s a reverse-chronological timeline of some of the highlights.

1.10, August 2018
STEP LOOP
Preview sound samples when you import

1.03 April 2018
Improved performance

1.02 March 2018
Batch import kits
Import and export patterns and kits
Write direct to an SD card from the computer (“Storage Mode”)

All of this fits nicely together. It’s now really quick to chop up some samples and load them onto an SD card, then import them into custom kits. That makes the TR-8S’ own onboard hardware a useful way to build your own custom kits – even preferable in some way to working with software. And the combination of STEP LOOP with other features for making custom rhythms adds tons of variety. (Use LAST to make different length parts, add sub-step rhythms for more complex patterns, and use “auto fill” to mix things up even if your hands aren’t free.)

Oh, and you can sidechain external inputs. So I’ve used the TR-8S with my laptop and Native Instruments Maschine. I use MIDI out from Maschine to keep things in sync, and route audio from the computer into the TR-8S so I can sidechain that audio with the drum machine. I’ve also played with Roland’s own AIRA VT-3 vocal transformer, which also lends itself to sidechaining. But it’s an ideal live performance box.

For more resources on the TR-8S, check out Francis Preve’s blog – he’s done a great Master Class on the instrument for Electronic Musician, plus a custom kit for you to download:

Master Class: Roland TR-8S

Previously:

Roland TR-8S hands-on: a more playable, powerful drum machine

The post Hands-on: Roland’s #808day upgrade for the TR-8S is a blast to play appeared first on CDM Create Digital Music.

An Introduction To The Roland TR-808 With Tatsuya ‘Tats’ Takahashi

Tatsuya ‘Tats’ Takahashi gives a basic introduction to the classic Roland TR-808 Rhythm Composer drum machine. … Read More An Introduction To The Roland TR-808 With Tatsuya ‘Tats’ Takahashi