Klevgränd releases GotoEQ equalizer for Mac, Windows & iPad

Klevgrand GotoEQKlevgränd Produktion has announced the release of GotoEQ, a classic EQ unit reinvented for the digital age. GotoEQ is partially modelled off a vintage passive tube-based program equalizer. However, we’ve added two additional bands with dynamic EQ bands. GotoEQ performs the classic ‘low-end trick’ with dual Boost and Attenuate controls for its low shelf, but […]

Korg Electribe Wave mit 8 Takten und Samples & Wavetables für iPad

Korg Electribe Wave

Grooveboxen auf dem iPad gibt es einige, auch die allerersten Electribes gibt es virtuell, namentlich die Drummachine ER1 mit vier Takten und eine alternative dazu mit anderen Sounds. Aber eine Antwort auf die X-Serie oder die heutigen Tribes gab es nie. Jetzt aber!

Electribe Wave

So heißt das Ding, es hat 8 Takte, also 128 Steps und ist damit so umfangreich wie die MX und SX. Die Electribe Wave hat 8 Synth-Parts und nochmal 8 Drum-Parts und Wavetable-Klangerzeugung. Sie ist also am besten mit der Hardware-Electribe MX zu vergleichen, was die Möglichkeiten angeht und doch ist sie nicht identisch.

Es gibt 70 Wavetables, die man als grafische Landschaft anschauen und auswählen kann. Diese bestehen aus verschiedenen Schwingungen, die man durchfahren kann. Es ist also ein klassisches PPG/Waldorf-System, und auch viele andere bieten das so an. Außerdem gibt es  dazu 70 Samples von Piano bis Noise als Alternativen. Für die Drums sind natürlich weitere Samples in einer langen Liste zu finden, die mit Kategorien ausgestattet sind (Snare, Perc, BD etc.). Dies alles hat mit 2 LFOS und einer AD-Hüllkurve strukturell am meisten Anlehnung an die neueren Tribes.

Außerdem stehen auch die Syntheseformen aus diesen zur Verfügung wie VPM, Sync und Subosc und ein paar weiteren wie Narrow, Reflect und Sub – sie fügen Schmutz und Noise hinzu bzw. einen weiteren Oszillator.

Motion und Unterschiede zu den bisherigen Tribes

Neben dem 8-Takt-Lauflicht gibt es noch eine Akkord-Funktion und eine Art Kross-Pad. Die beiden LFOs haben Audio-Tempo und sind daher gut für interessante neue Verfremdungen geeignet. Jeder Sound hat, wie bei den Hardwaretribes, einen eigenen Effekt für sich. Außerdem gibt es einen übersichtlichen Song-Mode und Mix-Übersicht mit Mutes.

Einzig wirklich schade ist, dass es bisher keine Funktion für eigene Samples gibt. So ist die Electribe mehr eine Luxus-MX oder 2 ohne S. Die Motion-Sequencer sind total übersichtlich mit Fadern einstellbar – das ist ein sehr gutes Arbeiten im Vergleich zur Hardware, die diesen Vorteil nicht hat. Man kann Steps abschalten und die Werte glätten. Das, was auch hier fehlt gegenüber den X-Tribes, ist die Roll-Funktion.

Insgesamt gibt es alle Filtertypen, aber ohne die Emulationen aus dem Kingkorg in der Hardware. Es ist fast schon denkbar, dass es da eine neuere Version gibt, die solche Funktionen vielleicht nachreicht, es ist aber jetzt schon ein großes Pack – dem eigentlich nur die Stroke Machine in dieser Form und als Sequencer der ModStep gewachsen sind.


Die App kostet aktuell 22 Euro, wird aber wohl teurer werden nach der Einführungszeit. Wo? Wie immer – im Appstore. Und natürlich versteht die Electribe Ableton Link.


ein kleines Werbe-Video gibt’s von Korg auch dazu:

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touchAble Pro for Ableton Live: touch control on iOS, Android, Windows

touchAble was already the benchmark app for controlling Ableton Live from an iPad. Now touchAble Pro has been recoded from the ground up with new features like custom layouts and waveform views – and it supports iOS, Android, and Windows touch, too.

Berlin developers Zerodebug are announcing a beta today for their new app, touchAble Pro. And so we get a first look at what they’ve been up to. The software sports a new, cleaner UI, but also comes a lot closer to being Ableton Live with complete touch support – or at least as close as you can get with the APIs Ableton make available.

You can edit patterns with an overhauled piano roll view, and audio clips using a waveform display.

There are new layouts, letting you view modules side by side or fullscreen.

You can draw in or edit automation inside clips.

It’s really starting to look like the touch app Ableton forgot, complete with full device support (including those pretty new Live 10 graphics), and even little details like being able to access I/O setting on channels right inside the app.

Plus, you can customize exactly the layout you need, which means touchAble shines for live performance. Years ago, I caught the early live show by Glitch Mob, all on original JazzMutant Lemur hardware (that is, before the iPad was released). They were able to make giant buttons so they could trigger stuff in Live without distracting from a live drum routine. You can do that with this if you want – or any number of other layouts. Need specific clip triggers, huge? Want a particular mixer or clip launch layout? Draw it right on the device.


The limitations of touchAble really come down to limitations of Ableton Live itself – connectivity with external devices, Live’s archaic scripting installation, and restrictions on the API. touchAble Pro is a good demonstration of why it’d be great to see Ableton add a complete API for their Arrangement View, in particular – even if that doesn’t make sense on their own Push hardware. But that said, this works. (I can’t evaluate final stability, because I’ve only had a pre-beta build, but it’s definitely promising.)

Initial pricing: US$29.99.


That’s actually touchAble Pro running on Windows – giant touchscreen, go!

The post touchAble Pro for Ableton Live: touch control on iOS, Android, Windows appeared first on CDM Create Digital Music.

MIDI Designer launches UNO Synth control surface for iPad

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Watch Kraftwerk jam with the ISS and ESA astronaut Alexander Gerst

Summer festivals? No, the most epic onstage moment for this summer has to be Kraftwerk jamming live with the International Space Station – and an iPad as the first electronic musical instrument in space.

Take a look (German-language text with English-language subtitles) – and spot the riff from Close Encounters:

In front of a crowd gathered in Stuttgart, Gerst announces from the international space outpost:

I am one of only six people in space, on the outpost of humanity, the International Space Station ISS, 400 kilometers above sea level. The ISS is a Man Machine – the most complex and valuable machine humankind has ever built.

Here in the European Columbus laboratory, the successor to the Spacelab, the European Space Agency ESA is researching things that will improve daily life on Earth. More than 100 different nations work together peacefully here and achieve things that a single nation could never achieve. We are developing technologies on board the ISS to grow beyond our current horizons and prepare to take further steps into space, to the Moon and Mars.

Vital specs:

The app is Lemur, the landmark touch control app, with another soft synth behind it making the sound.

The venue is the Jazz Open Festival, with a crowd of 7500 people in Stuttgart. (Hence the cheers as a UFO flies above the TV tower in the city.)

Dr. Alexander Gerst is a geophysicist as well as astronaut. This is his third mission to the ISS, and puts him in space from 6 June to the middle of December, 2018, as commander of the space station. That makes him only the second ESA astronaut to take command, after Frank de Winne on Expedition 21. (The latter I’ve had the pleasure to have dinner with, thanks to ESA. I asked him about sound, of course. His answer: the space station is almost deafeningly loud, not perhaps the soft purr you have in mind after watching Star Trek: The Next Generation – the Russian section being loudest of all, because of particular equipment it stores. They also use sound as one diagnostic for how equipment is working, though.)

Plus if you’ve seen The Martian, the character of Alex Vogel draws some elements from the real-life Dr. Gerst.

Kraftwerk of course had their own track “Spacelab” (1978). The name comes from a research laboratory developed in the 1970s as a joint project between NASA and European Space agency predecessor ESRO. ESA tells us that the environment Commander Gerst is in now, ESA’s Columbus laboratory module, is a direct descendant of that project. It’s a massive 75 cubic meters (well, massive when you’re launching that into space), packed with research equipment handling space science, Earth observation and technology, materials science, and more.

Gerst had a special tailor-made suite of software created for him on that iPad.

And so what you get is a convergence of science and culture, all in the European sphere.

More on the ESA-hosted blog for the astronaut:

Good evening, Kraftwerk! Alexander Gerst’s Horizons Blog

The post Watch Kraftwerk jam with the ISS and ESA astronaut Alexander Gerst appeared first on CDM Create Digital Music.

FieldScaper sound warp field recorder gets step sequencer in v2.0

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