NAMM 2019: Korg Volca Drum – Machinedrum ähnliche digitale Percussion im Kleinformat

Korg Volca Drum Digital Percussion Synthesizer Close UpKorg Volca Drum Digital Percussion Synthesizer Close Up

Korg hat nicht nur den (bereits geleakte) neuen Volca Modular pünktlich vor der NAMM 2019 fertiggestellt, sondern auch noch das Volca Drum. Es spezialisiert sich auf die typisch „synthetischen“ Klänge von digitalen Drummachines, kann aber ein wenig mehr. Es erzeugt Sounds nicht analog oder via PCM-Samples, sondern berechnet via DSP – das gibt eine Latte an Möglichkeiten.

Eigentlich ist die Idee auch für Korg nicht neu, denn die Electribe R war genau das, eine digitale Drummachine, die aber die klassischen Drum-Modelle an Bord hat. Es gibt 6 Drumsounds, die allesamt synthetisch sind. Es erinnert an Elektrons Machinedrum, auch weil es sogar ein richtiges Display gibt, welches Wellenformen und mehr darstellt. Ein Drumsound besteht generell aus einem Rauschanteil und einem tonalen Part und die kann man hier entsprechend einstellen. Dafür gibt es drei Potis für den Klang selbst und weitere für Hüllkurven der jeweiligen Anteile der Sounds wie etwa der Snare.

Der 16-Step-Sequencer animiert die sechs Sounds und damit ist der Drum das Gegenstück zur Sample-Volca oder der Microtonic unter den Volcas. Auch vorher gab es ja eine analoge Drummachine bei den Volcas, den „Beats“, aber der ist eher wie ein klassischer Drumcomputer aufgebaut mit wenigen Einstellmöglichkeiten und erinnert eher an die MFB Drummachines, als diese noch sehr klein und blau waren. Die Erzeugung ist aber nicht nur mit Filter oder Oszillator in der einfachen Form vorhanden, es gibt durchaus auch noch Wavefolding für mehr Obertöne. Es sind schon ganze Drum-Modelle, so ähnlich wie Elektrons „Machines“. Wie auch immer man sie nennt, sie sind alle nicht neu, nur sind sie in einer Volca neu. Die Preise stehen nicht endgültig fest, man kann aber mit unter 199 Euro rechnen.

Korg Volca Drum

Korg Volca Drum Digital Percussion Synthesizer

Mehr Infos

Videos

NAMM 2019: Korg Volca Drum – Machinedrum ähnliche digitale Percussion im Kleinformat

Korg Volca Drum Digital Percussion Synthesizer Close UpKorg Volca Drum Digital Percussion Synthesizer Close Up

Korg hat nicht nur den (bereits geleakte) neuen Volca Modular pünktlich vor der NAMM 2019 fertiggestellt, sondern auch noch das Volca Drum. Es spezialisiert sich auf die typisch „synthetischen“ Klänge von digitalen Drummachines, kann aber ein wenig mehr. Es erzeugt Sounds nicht analog oder via PCM-Samples, sondern berechnet via DSP – das gibt eine Latte an Möglichkeiten.

Eigentlich ist die Idee auch für Korg nicht neu, denn die Electribe R war genau das, eine digitale Drummachine, die aber die klassischen Drum-Modelle an Bord hat. Es gibt 6 Drumsounds, die allesamt synthetisch sind. Es erinnert an Elektrons Machinedrum, auch weil es sogar ein richtiges Display gibt, welches Wellenformen und mehr darstellt. Ein Drumsound besteht generell aus einem Rauschanteil und einem tonalen Part und die kann man hier entsprechend einstellen. Dafür gibt es drei Potis für den Klang selbst und weitere für Hüllkurven der jeweiligen Anteile der Sounds wie etwa der Snare.

Der 16-Step-Sequencer animiert die sechs Sounds und damit ist der Drum das Gegenstück zur Sample-Volca oder der Microtonic unter den Volcas. Auch vorher gab es ja eine analoge Drummachine bei den Volcas, den „Beats“, aber der ist eher wie ein klassischer Drumcomputer aufgebaut mit wenigen Einstellmöglichkeiten und erinnert eher an die MFB Drummachines, als diese noch sehr klein und blau waren. Die Erzeugung ist aber nicht nur mit Filter oder Oszillator in der einfachen Form vorhanden, es gibt durchaus auch noch Wavefolding für mehr Obertöne. Es sind schon ganze Drum-Modelle, so ähnlich wie Elektrons „Machines“. Wie auch immer man sie nennt, sie sind alle nicht neu, nur sind sie in einer Volca neu. Die Preise stehen nicht endgültig fest, man kann aber mit unter 199 Euro rechnen.

Korg Volca Drum

Korg Volca Drum Digital Percussion Synthesizer

Mehr Infos

Videos

Strymon’s Volante is a new, lush-sounding magnetic echo FX pedal

Strymon have already made a name for themselves in luxe effects hardware and pedals, including classic effects and reverbs like the BigSky. Volante moves into what’s likely to be hit territory – modeling magnetic tape loops and effects.

There are three tools in one here: magnetic delay, spring reverb, and a tape-style looper. It basically takes a bunch of things you’d do in a studio (back when studios did stuff with tape) — and crams that into a little box.

And it sounds great (Matt Piper here shares this music he made):

What’s inside:

Tape delay: four playback heads with feedback, panning, and level for each.

Make tape-style looping: reverse, pause, splice, infinite repeat

Selectable models: drum echo, tape echo, studio reel-to-reel, with different sound characteristics

And still more control: choose low cut, mechanics, and wear, plus an input you can adjust (so crank it for extra tape saturation)

Stereo in and out

Foot friendly: tap tempo and even choose favorite settings with your foot, plus add an expression pedal if you like

MIDI in/out with full MIDI mapping of parameters and program changes

USB MIDI

Strymon also promise premium audio fidelity, both on the analog front end and the digital conversion inside. And they build these in the USA.

It’s also a sign of the times: independent hardware is doing increasingly processor-heavy stuff. But just as the computer capacity has expanded, so has hardware – and more realistic emulations of nonlinear analog equipment is the result. This is still DSP-based, not ARM, for those interested – it’s a SHARC DSP – but those chips have grown in capability, too.

More:

https://www.strymon.net/products/volante/

US$399, preorder only for now (30-60 days out).

Detailed look:

The post Strymon’s Volante is a new, lush-sounding magnetic echo FX pedal appeared first on CDM Create Digital Music.

Cherry Audio Voltage Modular: a full synth platform, open to developers

Hey, hardware modular – the computer is back. Cherry Audio’s Voltage Modular is another software modular platform. Its angle: be better for users — and now, easier and more open to developers, with a new free tool.

Voltage Modular was shown at the beginning of the year, but its official release came in September – and now is when it’s really hitting its stride. Cherry Audio’s take certainly isn’t alone; see also, in particular, Softube Modular, the open source VCV Rack, and Reason’s Rack Extensions. Each of these supports live patching of audio and control signal, hardware-style interfaces, and has rich third-party support for modules with a store for add-ons. But they’re all also finding their own particular take on the category. That means now is suddenly a really nice time for people interested in modular on computers, whether for the computer’s flexibility, as a supplement to hardware modular, or even just because physical modular is bulky and/or out of budget.

So, what’s special about Voltage Modular?

Easy patching. Audio and control signals can be freely mixed, and there’s even a six-way pop-up multi on every jack, so each jack has tons of routing options. (This is a computer, after all.)

Each jack can pop up to reveal a multi.

It’s polyphonic. This one’s huge – you get true polyphony via patch cables and poly-equipped modules. Again, you know, like a computer.

It’s open to development. There’s now a free Module Designer app (commercial licenses available), and it’s impressively easy to code for. You write DSP in Java, and Cherry Audio say they’ve made it easy to port existing code. The app also looks like it reduces a lot of friction in this regard.

There’s an online store for modules – and already some strong early contenders. You can buy modules, bundles, and presets right inside the app. The mighty PSP Audioware, as well as Vult (who make some of my favorite VCV stuff) are already available in the store.

There’s an online store for free and paid add-ons – modules and presets. But right now, a hundred bucks gets you started with a bunch of stuff right out of the gate.

Voltage Modular is a VST/AU/AAX plug-in and runs standalone. And it supports 64-bit double-precision math with zero-latency module processes – but, impressively in our tests, isn’t so hard on your CPU as some of its rivals.

Right now, Voltage Modular Core + Electro Drums are on sale for just US$99.

Real knobs and patch cords are fun, but … let’s be honest, this is a hell of a lot of fun, too.

For developers

So what about that development side, if that interests you? Well, Apple-style, there’s a 70/30 split in developers’ favor. And it looks really easy to develop on their platform:

Java may be something of a bad word to developers these days, but I talked to Cherry Audio about why they chose it, and it definitely makes some sense here. Apart from being a reasonably friendly language, and having unparalleled support (particularly on the Internet connectivity side), Java solves some of the pitfalls that might make a modular environment full of third-party code unstable. You don’t have to worry about memory management, for one. I can also imagine some wackier, creative applications using Java libraries. (Want to code a MetaSynth-style image-to-sound module, and even pull those images from online APIs? Java makes it easy.)

Just don’t think of “Java” as in legacy Java applications. Here, DSP code runs on a Hotspot virtual machine, so your DSP is actually running as machine language by the time it’s in an end user patch. It seems Cherry have also thought through GUI: the UI is coded natively in C++, while you can create custom graphics like oscilloscopes (again, using just Java on your side). This is similar to the models chosen by VCV and Propellerhead for their own environments, and it suggests a direction for plug-ins that involves far less extra work and greater portability. It’s no stretch to imagine experienced developers porting for multiple modular platforms reasonably easily. Vult of course is already in that category … and their stuff is so good I might almost buy it twice.

Or to put that in fewer words: the VM can match or even best native environments, while saving developers time and trouble.

Cherry also tell us that iOS, Linux, and Android could theoretically be supported in the future using their architecture.

Of course, the big question here is installed user base and whether it’ll justify effort by developers, but at least by reducing friction and work and getting things rolling fairly aggressively, Cherry Audio have a shot at bypassing the chicken-and-egg dangers of trying to launch your own module store. Plus, while this may sound counterintuitive, I actually think that having multiple players in the market may call more attention to the idea of computers as modular tools. And since porting between platforms isn’t so hard (in comparison to VST and AU plug-in architectures), some interested developers may jump on board.

Well, that and there’s the simple matter than in music, us synth nerds love to toy around with this stuff both as end users and as developers. It’s fun and stuff. On that note:

Modulars gone soft

Stay tuned; I’ve got this for testing and will let you know how it goes.

https://cherryaudio.com/voltage-modular

https://cherryaudio.com/voltage-module-designer

The post Cherry Audio Voltage Modular: a full synth platform, open to developers appeared first on CDM Create Digital Music.

Universal Audio just made their interfaces into a live vocoder, more

Why would you want near-zero latency on an effect? Well, maybe you want to run something like a vocoder – and that means the latest addition to Universal Audio’s offerings is a big deal.

Universal Audio continues churning out software updates with new analog emulations and other add-ons to buy; 2018 has been a huge year for them. But those effects often don’t come cheap, and they are tied to UA’s own hardware. So one of the selling points of working that way has been that UA offers near-zero latencies, letting you track through those effects. That is, plug-ins are great – until you need real-time performance, since they can add loads of latency.

This is meaningless, of course, if you’re just applying effects to recordings after the fact. But a vocoder is an entirely different story, so I suspect that the new vocoder included in this month’s UA update will matter to a lot of people.

Interesting, UA are so locked in the studio paradigm that they say you’ll want to “track” through the vocoder – record while monitoring. But I imagine this vocoder may find its way onstage. Lots of vocalists perform with laptops for greater flexibility, and the UA vocoder has real-time MIDI and keyboard control.

The new Vocoder comes from Softube, those Swedish masters of emulation, who have made themselves a big name both as a provider to UA and as an independent vendor (including with their own native platform, though it doesn’t provide the same real-time possibilities).

The result is a vocoder that looks promising in the studio and onstage. I need to test this, so disclaimer – this isn’t a review. But here’s what they’re promising.

Any vocoder is a combination of synth and vocal input, by default. Here, you get an emulation of an analog polysynth, and then a number of unique tools specific to this offering.

  • 12-voice polyphonic “carrier” synth (that’s the synth you’ll combine with your vocals)
  • Analog synth emulation
  • Four waveform types, pitch modulation, pulse width modulation (and octave and attack/decay controls)
  • Variable bands – 4-, 8-, 12-, 16-, and 20-band modes – for simpler retro “robotic” effects to richer, modern digital vocoder styles
  • Resynthesis parameters – emphasis, spectral tilt (which adjusts how you shift between frequencies), shape, and parallel bend controls
  • MIDI control of notes and chords (also available from their built-in keyboard onscreen if you don’t have a MIDI source handy)
  • Synced freeze function – so you can capture a snippet of sound, and then use different clock divisions synced to a DAW or MIDI source

“Freeze” a snippet of sound, then manipulate that freeze in sync with your DAW or a MIDI source, with various clock division options.

Spectral controls give you more contemporary sounds, retro robot sounds, or anything in between.

And yeah, you can use this on vocals if you’re a terrible singer. You can use it if you’re a great singer. You can use it on things that aren’t vocals (hello, drums). And so on. Here are some nice tips from their even nicer studio:

This wasn’t the only addition to UA’s latest software. See also an AMS Neve console built especially for emulating the desk preferred by big budget Hollywood productions. That gives you the whole console strip you’d find at, say, Skywalker Sound – with Compressor, Limiter, Expander, Gate, and Dynamic EQ, plus four-band parametric EQ. Will it make you sound more Hollywood? No idea. Will it give you a psychological boost to try? Probably.

https://www.uaudio.com/uad-plugins/channel-strips/ams-neve-dfc-channel-strip.html

AMS Neve DFC Channel Strip.

And also in this release, they’re unveiling the first-ever authorized emulation of the legendary Lexicon 480L. If you don’t know that 80s-era reverb by its model number, you might know it from its beige case and faders – it’s one of the more recognizable effects in history. Being authorized in this case matters, because they were able to derive the results directly from the original’s firmware. (Oh yeah – digital means a “model” can be very accurate indeed.) And again, you can use this live. First thing I would do would be to map some faders to those parameters.

Lexicon 480L – the original hardware.

https://www.uaudio.com/uad-plugins/reverbs/lexicon-480l-digital-reverb-effects.html

9.7 additionally includes an emulation of the Suhr SE100 tube amp, plus from Brainworx the bx_masterdesk Classic chain.

But I do think the vocoder will be the one that gets people’s attention, because everyone —

Oh, no, I’m going to be interrupted by Robert Henke again.

More:

https://www.uaudio.com/uad-plugins/special-processing/softube-vocoder.html

(PS, if it’s an Auto-Tune effect you’re after, they also have a real-time edition of Antares’ Auto-Tune.)

The post Universal Audio just made their interfaces into a live vocoder, more appeared first on CDM Create Digital Music.

Behringers Suche nach Synth-Neuland: Angriff auf die Digitalen und Hybriden?

Behringer DigitalBehringer Digital

Behringer sucht nach eigenen Angaben „Spezialisten für FPGA Programmierung“. Damit sind sie dann offensichtlich noch ganz am Anfang, aber …

Angesichts der nicht mehr so breiten Palette von digitalen Synthesizern und dem großen Analog-Trend muss etwas kommen. Waldorf hat sich den Kyra an Bord geholt, den früheren Valkyrie von einem exzellenten Coder aus UK. Wie man auch an Software-Synthesizern hören kann, ist die Qualität solcher Synthesizer, die nicht zwingend Simulanten sind, sehr unterschiedlich und trägt stark die Handschrift von Individualisten. So klingt Arturia-Software nicht immer genau so wie das Original. Sie ist aber brauchbar und hochwertig, während U-He, Creamware schon vor Jahren und Roland seit Start der Boutique-Serie offenbar gefunden haben, was man braucht. Wie sieht die nahe Zukunft von Behringer aus?

Behringer Digital-Synthesizer – der nächste Schritt?

Behringer arbeitet aktuell irgendwo zwischen der Herstellung beliebter Synthesizer und Neuentwicklung eigener Konzepte wie dem Neutron. Sie werden auf Dauer ihr Image verbessern wollen und auch Synthesizer auf breitere Füße stellen wollen. Dazu gehört eine gute digitale Einheit. FPGA ist nur einer von mehreren Wegen, wie man Synthesizer heute in Hardware gießen kann. Aktuell gehen viele Firmen in Richtung ARM-Chips. Die Klassiker sind hingegen auf Motorola-DSPs oder Sharcs aufgebaut. Selbst Sequential verwendet Sharcs für den Oszillator-Block des Prophet-12 , so wie es Creamware damals, später Soniccore auch versuchten.

Wenn die richtigen Leute gefunden sind oder auch nur ein guter Coder, wäre ein neues Projekt für einen Behringer Digital-Synthesizer in einem halben bis ganzen Jahr soweit, vorzeigbar zu sein. Manchmal kann es auch länger dauern. Ab da müsste man eher mit ganz neuen Maschinen rechnen können, die sicher eher nicht so stark an anderen orientieren, jedoch sich den Markt genau ansehen. Ob es für Innovationen reicht, die auch ein Wagnis darstellen, kann man auch bei positivem Blick erstmal nicht annehmen. Schließlich operiert Behringer schon sehr, sehr lange eher nahe an gut funktionierenden Konzepten.

Sie können günstig Dinge herstellen und auch hybride Synthesizer wären kein Problem. Sie wären generell günstiger als alles andere, jedoch ist die Messlatte für ein sinnvolles neues Konzept relativ hoch. Ob man eher eine Art Nord Lead, Virus oder Kyra bringt oder sich auch an ganz anderen Synthesekonzepten versucht, könnte man anhand bisheriger Produkte eher nicht erwarten. Aber wieso sollte Behringer uns nicht überraschen wollen?

Behringer stellt neue Leute ein

Behringer sucht mehrere Leute und zwar sollen diese sich laut ihrer Facebook-Information in Willich bewerben, dem klassischen deutschen Gründungsort. Ganz sicher meint man das ernst und sicher möchte man mit mehreren Leuten schnell vorankommen und vielleicht mehrere Projekte bringen. Wenn die mal gefunden sind, könnte man auch FM-Synthesizer, Mischformen wie den Fingersonic oder auch High-End-Maschinen wie den Waldorf Quantum schaffen. Aber – gut klingende Instrumente brauchen auch teilweise unkonventionell denkende Coder.

Wir tippen auf die Ergänzung der analogen Reihe, Aufwertungen der analogen Elemente über digitale Oszillatoren mit Wavetables, FM und Co. Aber auch komplett digitale Konzepte sind möglich, die aber stark an den Spezialitäten der Coder hängen werden oder, je nach Firmenstruktur, des Leitenden oder des Chefs. Die Erwartung ist daher: günstige Mischformen und digitale Konzepte mit dem Besten aus allem, was es bisher gab. Wenn wir als User die Firma unterschätzen und sie bringen sehr innovative Instrumente, dann haben sie auch die Chance auf mehr gute Karmapunkte. Vielleicht tun sie genau das (auch), lassen aber auch ein paar Klassiker auf den Stand von 2018 bringen.

Vadim is a master of the dark arts of DSP – listen to him explain filters

DSP is a secretive art form. But maybe its best-kept secret is, musicians can learn it. You just need a great teacher – and Vadim Zavalishin of Native Instruments, working in Reaktor, is a perfect place to start.

This talk is from June, but just came online – and it’s a rare chance to hear from anyone like this in the industry, let alone in a way that’s this clear and friendly from someone who’s one of the better DSP artists around. Even if you have little interest in programming, you can skim through this video and learn how Vadim made a lot of NI’s recent stuff sound better through analog-style filter modeling. But it might just get you into some casual toying about with core DSP, because Reaktor makes it easy – and Vadim makes it clear why it’s relevant to music and sound.

Some background first: Digital Signal Processing describes the transformation of sound through math, now inside your plug-ins, your hardware, and quite a lot of of Eurorack modules.

DSP is math, but the math itself often is straightforward. Take summing. You know the equation for summing signals, because it’s literally adding. That’s 1+1 adding – that one. (For years I listened to DAW programmers chuckle as people posted on forums about “summing engines,” because very often it is really the stuff you did in first grade. Well, if in first grade you used floating point numbers instead of integers, but you get the idea.)

Depending on the task in mind, of course, this can get to doctoral-level stuff instead. But if there’s only a handful of people doing DSP in audio, the reason may be that it requires overlapping expertise. You need to get the math part and the coding bits, but you also need a musical ear and a sense of art. (And you need to be willing to work with music instead of take a high-paying job for, say, the petroleum business or defense contractors.)

Music is very often about sophisticated results from simple building blocks. And so it is with DSP. DSP is a unique intersection between music, sound, science, art, and alchemy.

Then again, that’s why it could be a lot of fun to explore as a musician, and not just as an engineer. There’s not time for everything – that’s why it’s great to be able to “stand on the shoulders of giants” and use existing DSP code, and existing research, to say nothing of going out and buying a nice guitar pedal or using the modules in environments like Reaktor or SuperCollider or Max/MSP or Pd or checking out a new plug-in or soft synth or keyboard.

But Reaktor’s visual environment, structured tools, and the ability to plug your latest filter or distortion into a larger context make this software an ideal way to learn or experiment. I think it’s more fun than brewing your own beer or something, anyway, and I kill plants when I try to grow them. Filters it is.

I’m experimenting myself with Reaktor and also the lovely free FAUST environment. If anyone else is, too, let us know how it goes.

The post Vadim is a master of the dark arts of DSP – listen to him explain filters appeared first on CDM Create Digital Music.

UA unveils a maxed-out Thunderbolt 3 Apollo – and it’ll monitor surround sound

Universal Audio’s Apollo flagship audio interface and DSP platform is getting a big generational refresh and Thunderbolt 3. There’s a lot here, but maybe the most significant development is that 5.1 and 7.1 surround monitoring support is coming later this year.

It’s the Apollo X line for Mac and Windows – the x6, x8, x8p, and x16, all with Thunderbolt 3 connections to the computer and loads of I/O.

“UA’s hardware are just dongles for their plug-ins” – yeah, I hear that a lot. But the Apollo line was from the beginning the hardware that changed that. It said to users, hey, what if that add-on was also one of the best audio interfaces you can buy, even before adding in the DSP benefits. And then, over time, we’ve seen UA bake in greater functionality using that DSP horsepower.

The new Apollo really speaks to the high end of the market. These are the people who do depend on the reliability of the DSP hardware – because native processing, while enormously powerful, lacks the same predictability. (That’s a nice way of saying your CPU will suddenly peg and make a horrible glitching noise out of your sound.) That’s good to have anywhere, but especially in production environments in studios, in TV and video and games, in live tracking. A “studio” isn’t what it once was, to be sure, but then that’s also been the advantage of UA’s mobile interfaces. This is still about those situations where time is money and quality is everything, even if that use case may or may not be a studio per se.

Nicely enough, UA has managed to price out these systems for that full range, from the entry-level model at two grand (in reach of at least some serious independent producers) up to a maxed-out $3499 model.

In the process, we also see UA’s move from its more iterative, provisional approach of the past to a top-to-bottom hardware upgrade and greater software integration we get now. Having been on the UA train for a while, their stuff is just way more useful and way more reliable and easier to configure than when it started.

So here’s what you get:

All new A/D and D/A conversion which UA claims now best the industry for dynamic range and low signal-to-noise.
More DSP. 6-core processing boosts DSP by 50% over the past generation.
Mic preamp emulations. So, here’s another reason to run dedicated DSP – you can track through integrated preamp emulations of Neve, API, Manley, Fender, and more, saving money and space and adding flexibility in the studio, and then letting you take that studio rig on the road in a way that was previously impossible.
Surround formats up to 7.1, with speaker calibration and fold-down.

The surround thing is coming quarter 4, and obviously makes this way more appealing to exactly the sort of production environments likely to be attracted to UA in the first place.

There’s also various nice little touches: a built-in talkback mic and cue support, +24/+20 switchable operation, and a nice software bundle which interestingly now includes Marshall and Ampeg models. (I’m guessing that’s part of this focus on producers.)

The various models:

Apollo | x16 — US$3,499
133 dB dynamic range, THD+N -129 dB, 18 x 20 interface.

Apollo | x8p — $2,999
8 Unison-ready mic preamps, 129 dB dynamic range, switchable +24 dBu headroom settings, 18 x 22

Apollo | x8 — $2,499
Like the above but 4 Unison mic pres, 18×24.

Apollo | x6 — $1,999
The “producer one” – 2 Unison mic pres and Hi-Z ins, still surround support up to 5.1 (the others do 7.1), and 16×22 I/O.

The full range looks like a winner to me; I think we will see a lot of these show up in the studios, mix rooms, post facilities, and a lot of producer rigs, as UA promises.

There just isn’t anyone else doing this kind of platform. (The closest, Softube’s Console 1, in fact works perfectly with the UAD so it’s less a rival than a part of the same ecosystem.) It’s not going to be for everyone, but it does continue to look better for the people it’s for.

https://www.uaudio.com/apollo-x

The post UA unveils a maxed-out Thunderbolt 3 Apollo – and it’ll monitor surround sound appeared first on CDM Create Digital Music.

Tangible AE Modular bekommt MultiFX-Modul unter 99 Euro

Tangible AE Modular MultiFX

Nachdem ich auch selbst mal auf dem Happy Knobbing das AE anhören konnte, musste ich allein wegen der Größe durchaus immer wieder sagen : „Das nicht kaufen, du hast doch schon.“, Aber es gibt jetzt dafür auch einen Effekt-Bereich!

Die Module sind kleiner als beim Eurorack. Es ist extrem smart mit dem kleinen System zu arbeiten, und es klingt auch überzeugend. Der MultiFX hat einen Auswähler mit Anzeige, um welchen Effekt es sich handelt. Es gibt insgesamt 15 Effekte, die auf dem FV1 Chip basieren, den auch Tiptop in ihren Modulen verwenden.

AE Modular MultiFX – Effekte für Tangible AE Modular

Drei Parameter sind per CV direkt erreichbar und damit sehr leicht zu beeinflussen. Viele Effekte bieten lediglich zwei Parameter an. Außerdem kann das AE Modular MultiFX auf LoFi gestellt werden, um so auch absichtliche Glitch-Sounds zu produzieren. Hall, Delay, Ring Crusher und Glitch Delay und weitere findet man auch dort inkl. dem „Valhalla-Reverb“.

Weitere Module werden aktualisiert, es wird also auch noch immer an dem System gearbeitet und verbessert. Mit unter 500,– Euro bekommt man ein komplettes System, dieses Modul kostet 89,– Euro als Einführungspreis. Später soll es dann 95,– Euro kosten. Es ist möglich, sich selbst ein System zusammenzustellen oder man kann wählen und einzeln kaufen.

Wer das AE System noch nicht kennt: Es ist Ergebnis einer Crowdfunding Aktion.

Infos

Video

AE Demos

und auf dem Meeting Happy Knobbing – ab 21:40 etwa…

Watch this $30 kit turn into all these other synthesizers

DIY guru Mitch Altman has been busy expanding ArduTouch, the $30 kit board he designed to teach synthesis and coding. And now you can turn it into a bunch of other synths – with some new videos to who you how that works.

You’ll need to do a little bit of tinkering to get this working – though for many, of course, that’ll be part of the fun. So you solder together the kit, which includes a capacitive touch keyboard (as found on instruments like the Stylophone) and speaker. That means once the soldering is done, you can make sounds. To upload different synth code, you need a programmer cable and some additional steps.

Where this gets interesting is that the ArduTouch is really an embedded computer – and what’s wonderful about computers is, they transform based on whatever code they’re running.

ArduTouch is descended from the Arduino project, which in turn was the embedded hardware coding answer to desktop creative coding environment Processing. And from Processing, there’s the idea of a “sketch” – a bit of code that represents a single idea. “Sketching” was vital as a concept to these projects as it implies doing something simpler and more elegant.

For synthesis, ArduTouch is collecting a set of its own sketches – simple, fun digital signal processing creations that can be uploaded to the board. You get a whole collection of these, including sketches that are meant to serve mainly as examples, so that over time you can learn DSP coding. (The sketches are mostly the creation of Mitch’s friend, Bill Alessi.) Because the ArduTouch itself is cloned from the Arduino UNO, it’s also fully compatible both with UNO boards and the Arduino coding environment.

Mitch has been uploading videos and descriptions (and adding new synths over time), so let’s check them out:

Thick is a Minimoog-like, playable monosynth.

Arpology is an “Eno-influenced” arpeggiator/synth combo with patterns, speed, major/minor key, pitch, and attack/decay controls, plus a J.S. Bach-style generative auto-play mode.

Beatitude is a drum machine with multiple parts and rhythm track creation, plus a live playable bass synth.

Mantra is a weird, exotic-sounding sequenced drone synth with pre-mapped scales. The description claims “it is almost impossible to play something that doesn’t sound good.” (I initially read that backwards!)

Xoid is raucous synth with frequency modulation, ratio, and XOR controls. Actually, this very example demonstrates just why ArduTouch is different – like, you’d probably not want to ship Xoid as a product or project on its own. But as a sketch – and something strange to play with – it’s totally great.

DuoPoly is also glitchy and weird, but represents more of a complete synth workstation – and it’s a grab-bag demo of all the platform can do. So you get Tremelo, Vibrato, Pitch Bend, Distortion Effects, Low Pass Filter, High Pass Filter, Preset songs/patches, LFOs, and other goodies, all crammed onto this little board.

There, they’ve made some different oddball preset songs, too:

Platinum hit, this one:

This one, it sounds like we hit a really tough cave level in Metroid:

Open source hardware, kits available for sale:

https://cornfieldelectronics.com/cfe/projects.php#ardutouch

https://github.com/maltman23/ArduTouch

The post Watch this $30 kit turn into all these other synthesizers appeared first on CDM Create Digital Music.