RØDE Microphones has announced the RØDECaster Pro Podcast Production Studio, the world’s first fully integrated podcast production studio. The RØDECaster™ Pro will change the face of the fastest-growing segment in the media industry – podcasting. Now, everyone with a dream to create professional-quality podcasts will be able to do so seamlessly with this new and […]
You wouldn’t make music with just simple oscillators, so why only use basic, repetitive modulation? In the latest video in Bastl’s how-to series hosted by Patchení’s Nikol, waveshaping gets applied to control signals.
But when most people hear waveshapers, they think of them just as a fancy oscillator – as a sound source. But in the modular world, you can also imagine it as a way of adding harmonics (read: complexity) to simple control signals, which is what Nikol demonstrates here.
That is, instead of Waveshaper -> out, you’ll route [modulation/control signal/LFO] -> Waveshaper in, and mess with that signal. WahWahWahWah can turn into WahwrrEEEEkittyglrblMrcbb… ok, okay, video:
Keep watching, because this eventually gets into adding variation to a sequenced signal.
You can try this in any software or hardware environment, but you do need your waveshaper to work with your control input. What’s relatively special about Timber in the hardware domain at least is its ability to process slow circuits.
Austrian tech startup company birdkids has announced that it has launched a Kickstarter campaign for its RAVEN, a 100% analog synthesizer voice. RAVEN combines the simplicity of a performance-friendly, semi-modular synthesizer voice with fully-modular, infinitely flexible, workflow possibilities by assigning Control Voltage I/O’s at (almost) every point in the signal workflow. Each modular component can […]
BOSS has introduced the Nextone-Artist and Nextone-Stage, two gig-ready combo guitar amplifiers designed with the advanced Tube Logic approach. Combining classic tube sound and feel with next-generation tonal diversity, each Nextone (pronounced “nex-tone”) amp offers multiple channels and instant re-voicing via four Class AB analog power amp types selectable from the panel. Nextone amps also […]
Sequential has announced the Prophet 12 LE, a special numbered, limited edition of the Prophet 12 analog/digital hybrid synthesizer. The limited edition synth features a custom, arctic white finish with maple end caps. It will be strictly limited to 100 instruments worldwide and will commemorate the last of these synthesizers that Sequential will create. Dave […]
It’s a looper, it’s a Session View controller. It’s USB powered, and you play it with your feet. But unlike other options, Datalooper integrates directly with how you work in Ableton Live – and it doesn’t require Max for Live to operate. Here’s a first look – and an exclusive discount.
Ableton may have called their event “Loop,” but that doesn’t mean there’s an obvious way to control the software’s looping capability via hardware out of the box. And that’s essential – Ableton Push is great, but it doesn’t fit a lot of instrumental and vocal uses. It’s too complicated, and involves too much hand-eye coordination – stuff you want to focus elsewhere. I’m not sure what Ableton would have called their own foot hardware – Ableton Tap? Ableton Toes? But instead, users have been stepping up … sorry, unintentional pun … and giving Live the kind of immediacy you’d expect of a looper pedal.
Demand seems higher than ever – there were two projects floating around Ableton Loop in LA last week. I covered State of the Loop already:
That project focused mainly on the Looper instrument and the use of scenes, all via Max for Live. It also seems well suited to running a lot of loopers at once.
Datalooper – the work of musician/creator Vince Cimo – is a similar project, but finds its own niche. First off, Max for Live isn’t required, meaning any edition of Live will work. (It uses a standard Live Control Script to communicate with Live.)
We got hands-on with Datalooper at Ableton Loop this year.
Datalooper will use the Looper device if you want. In that mode, it’s basically a controller for the Looper instrument – and supports up to three at once by default (which will be enough for most people anyway).
But there’s not much difference between the Looper device and other plug-ins or dedicated looping tools. “Natively” looping in Live still logically involves Session View. Before Ableton had a Looper, the company would advise customers to just record into clips in the Session View. That’s all fine and well, except that users of hardware pedals were accustomed to being able to set a tempo with the length of their initial recording, so the loop kept time with them instead of having to adjust to an arbitrary metronome.
Datalooper does both. You can use Session View, taking advantage of all those clips and arrangement tools and track routing and effects chains. But you can also use the looper to set the tempo. As the developers describe it:
If you long press on the clear button, the metronome will turn off, and the tempo will re-calculate based on the next loop you record, so you can fluidly move between pieces without having to listen to a click track. Throughout this process, the transport never stops, meaning you can linearly record your whole set and capture every loop and overdub in pristine quality.
Datalooper is also a handy foot-powered control system for working with clips in general. So even if you weren’t necessarily in the market for a looper or looper pedal, you might want Datalooper in your studio just to facilitate working quickly with clips.
(And of course, this also makes it an ideal companion to Ableton Push … or Maschine with a Live template, or an APC, or a Launchpad, or whatever.)
Session Control mode lets you hop in and record quickly to wherever you wish. I imagine this will be great for improvisation not only solo but when you invite a friend to play with you.
For users that are more familiar with the clip system, the Datalooper also features a ‘session control’ mode, built to allow users to quickly record clips. In this mode, the Datalooper script will link up with a track, then ‘auto-scan’ and latch on to the first unused clip slot. You can then use the first the buttons in a row to control the recording, deletion and playback of the clip. Best of all, when you want to record another clip, you can simply press record again and the script will find you another unused clip slot. This is a game-changer if you’re trying to quickly record ideas and want your hands free.
You get all of this in a nice, metal box – die-cast aluminum, weighing 3 lbs (1.4 kg), micro USB bus-powered standard MIDI device. The onboard LEDs light to show you status and feedback from the metronome.
By default, it uses three loopers, but all the behaviors are customizable. In fact, when you want to dive into customization, there’s drag-and-drop customization of commands.
A graphical controller editor lets you customize how the Datalooper works. This could be the future of all custom control.
US$199 is the target price, or $179 early bird (while supplies last). It’s now on Indiegogo; creator Vince Cimo needs enough supporters to be able to pull the trigger on a $10k manufacturing run or it wont’ happen.
Vince has offered CDM readers a special discount. Head here for another $20 off the already discounted price:
(No promotional fee paid for that – he just asked if we wanted a discount, and I said sure!)
Having gotten hands on with this thing and seen how the integration and configuration works … I want one. I didn’t even know I wanted a pedal. I think it could well make Live use far more improvisatory. And the fact that we have two projects approaching this from different angles I think is great. I hope both find enough support to get manufactured – so if you want to see them, do spread the word to other musicians who might want them.
JOUÉ has announced the Grand Clavier, a new Magic Module for its expressive controller instrument. The Grand Clavier joins the 8 already existing modules. The Grand Clavier has 25 expressive keys to subtly play any type of digital instruments. The Glissando mode allows continuous pitch-bend between notes and to enjoy microtonal interpretation. The Grand Clavier […]
PreSonus has announced availability of its new ATOM pad controller, a compact, dynamic performance controller and versatile production controller. Produce beats, play virtual instruments, and trigger sound effects and loops in real time with unsurpassed expressiveness and flexibility using Atom’s 16 full-size, velocity- and pressure-sensitive RGB pads with selectable pad velocity curves and pad pressure […]
Waves Audio has introduced the Waves Axis One, a standardized computer, custom-designed and optimized to run Waves audio applications. Packed in a road-hardy half-rack 2U case, Axis One is a trustworthy turnkey solution for live sound, broadcast and the studio. Axis One is designed from the ground up to perform reliably and consistently under demanding […]
Vermona has announced availability of fourMative CONTOURS, its first ‘envelope’ entry to the ever-expanding Eurorack small-format modular system world. fourMative CONTOURS far exceeds the functionality of a traditional envelope generator, delivering up to four single-phase envelopes that can be combined to achieve much more complex voltage-controlled curves. fourMative CONTOURS hast four individual channels, we decided […]