As part of its ‘May Is MIDI Month’, The MIDI Association will host a pair of live web events, on the history and future of MIDI:… Read More Free Web Events To Explore History & Future Of MIDI
HighLife Samples has announced the release of Hype Progressive Melodies, a free collection of MIDI files dedicated to the Hype Progressive music genre. Inside of this sample pack you will find 24 hype progressive midi file melodies for use in to your musical productions. These midi files melodies are inspired by some of the top […]
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Various devices have tried to do what the computer does – letting you play, sequence, and clock other instruments, and arrange and recall ideas. Now, a new grid is in town, and it’s bigger, more capable, truly standalone, and open in every way.
composer pro makes its debut today at Superbooth. It comes from what may seem an unexpected source – dadamachines, the small Berlin-based maker known for making a plug-in-play toolkit for robotic percussion and, more recently, a clever developer board. But there’s serious engineering and musical experience informing the project.
What you get is an enormous, colored grid with triggers and display, and connectivity – wired and wireless – to other hardware.
It’s a MIDI router, a USB host, a sampler and standalone instrument, and a hub to clock everything else. It doesn’t need a computer – and yeah, it can definitely replace that laptop if you want, or keep it connected and synced via cable or Ableton Link.
And one more thing – while big manufacturers are starting to wake up to this sort of thing being a product category, composer pro is also open source and oriented toward communities of small makers and patchers who have been working on this problem. So out of the box, it’s set up to play Pure Data, SuperCollider, and other DIY instruments and effects, extending ideas for standalone instrument/effects developed by the likes of monome and Critter & Guitari’s Organelle. That should be significant both if you’re that sort of builder/hacker/patcher yourself, or even if you just want to benefit from their creations in your own music. And it’s in contrast to the proprietary direction most hardware has gone in recent years. It’s open to ideas and to working together on how to play – which is how grid performance got started in the first place.
Disclosure: I’m working with dadamachines as an advisor/coach. That also means I’ll be responsible for getting feedback to them – curious what you think. (And yeah, I also have some ideas and desires for where these sorts of capabilities could lead in the future. As a lot of you have, I’ve dreamt of electronic musical performance tools moving in this direction – I love computers but also hate some of the struggles they’ve brought with them.)
I hope you like buttons. Composer Pro has a 192-pad grid – that’s 16 horizontally by 12 vertically. Add in the rest of the triggers for a grad total of 261 buttons – transport and modes on the top, and the usual scene and arm triggers on the side, plus edit controls and other functions on the left.
For continuous control, there’s a touch strip. And you get a small display and encoder so you can navigate and see what you’re doing.
There’s computational power inside, too – a Raspberry Pi compute module, and additional processing power that runs the device.
You get just about every form of connectivity (apart from CV/gate, even though this is Superbooth):
Sequencing and clock:
MIDI (via standard DIN connectors, 2 in, 2 out)
DIN sync (for vintage analog gear like the Roland TR-808)
Analog sync I/O (for other analog gear and modular)
USB MIDI (via USB C, for a computer)
USB host, with a 4-port USB hub
Ableton Link (for wireless connections, including to various Mac, Windows, Linux, and iOS software)
(There’s a dongle for wifi for Link support.)
Stereo audio in
Stereo audio out
The USB host and 4-port hub is a really big deal. It means you can do the things that normally require a computer – connect other interfaces, add more audio I/O, add USB MIDI keyboards and controllers, whatever.
Sequences and songs
At its heart, composer pro focuses on sequencing – whether you want to work with custom internal instruments, external gear, or both.
You have sixteen slots, which dadamachines dubs “Machines.” Then, you can work with simple step-sequenced rhythms or mono-/polyphonic melodies, and add automation of parameters (via MIDI CC).
Pattern sequences can be up to 16 bars.
There are 12 patterns per Machine slot. (16×12 – get it?)
Patterns + Machines = larger songs. And you can have as many songs as you can fit on an SD card (which, given this is MIDI data is … a lot).
The beauty of dadamachines’ approach is, by building this around the grid, you can work in a lot of different ways:
Step-sequence melodies and rhythms in a standard grid view.
Play live – there’s even a MIDI looper – and use standard quantization tools, or not, to decide how much you want your performance to be on the grid.
Trigger patterns one at a time, or in scenes.
Use the touchstrip for additional live control, with beat repeat functions, polyrhythmic loop length, nudge, and velocity (the pads aren’t velocity sensitive, though you can also use an external controller with velocity).
Now you see the logic behind having this enormous 16×12 grid – everything is visible at once. Most hardware, and even devices like Ableton Push, require you to navigate around to individual parts; there’s no way to see the overall sequence. You can bring up dedicated grid pages if you want to focus on playing a particular part or editing a sequence. But there’s an overview page so you also get the big picture – and trigger everything, without menu diving.
dadamachines have set up four views:
Song View – think interactive set list
Scene View – all your available Patterns and Machines
Machine View – focus on one particular instrument and input
Performance View – transform an existing pattern without changing it
And remember, this can be both external gear and internal instruments – with some nice ready-to-play instruments included in the package, or the ability to make your own (in Pd and SuperCollider) if you’re more advanced.
It’s already set up to work with ORAC, the powerful instrument by technobear, featured on the Organelle from Critter & Guitari:
– showing what can happen as devices are open, collaborative, and compatible.
When can you get this?
composer pro is being shown in a fully working – very nice looking – prototype. That also means a chance to get more feedback from musicians.
dadamachines say they plan to put this on sale in late summer.
It’s an amazing accomplishment from an engineering standpoint, from the hands-on time I’ve had with it. I know velocity-sensitive pads will be a disappointment, but I think that also means you’ll be able to afford this and get hardware that’s reliable – and you can always use the touchstrip or connect other hardware for expression.
It also goes beyond what sequencers like the just-announced Pioneer Squid can do, and offers a more intuitive interface than a lot of other boutique offerings – and its openness could support a community exploring ideas. That’s what originally launched grid performance in the first place with monome, but got lost as monome quantities were limited and commercial manufacturers chose to take a proprietary approach.
Stay tuned to CDM as this evolves.
dadamachines announces grid based midi performance sequencer composer pro
composer pro is the new hub for electronic musicians, a missing link for sketching ideas and playing live. It’s a standalone sampler and live instrument, and connects to everything in a studio or onstage, for clock and patterns. And it’s open source and community-powered, ensuring it’s only getting started.
Edit patterns by step, play live on the pads and touch strip, use external controllers – it’s your choice. Sequence and clock external gear, or work with onboard instruments. Clock your whole studio or stage full of gear – and sync via wires or wirelessly.
Finally, there’s a portable device that gives you the control you need, and the big picture on your ideas, while connecting the instruments you want to play. And yes, you’re free to leave the computer at home.
composer pro will be shown to the public the first time at superbooth in Berlin from 9-11th of may. Sales start is planned for late summer 2019.
Use a massive, RGB, 16×12 grid of pads
192 triggers – 261 buttons in total – but organized, clear, and easy
Step sequence or play live
Melodic and rhythmic/drum modes
Work with quantization or unquantized
Play on the pads or use external controllers
Touch strip for expression, live sequence transformations, note repeat, and more
MIDI input/output and sync (via USB-C with computer, USB host, and MIDI DIN)
Analog sync (modular, analog gear)
DIN sync support (for vintage instruments like the TR-808)
USB host – with a built-in 4-port hub
Abeton Link support (USB wifi dongle required for wireless use)
Stereo audio in
Stereo audio out
Onboard sounds and room to grow:
Internal instruments and effects
Powered by open source sound engines, with internal Raspberry Pi computer core
Includes ORAC by technobear, a powerful sequenced sampler
Arrange productions and set lists:
Full automation sequencing (via MIDI CC)
Trigger patterns, scenes, songs
16-measure sequences, 12 scenes per song
Unlimited song storage (restricted only by SD card capacity)
The post One big, open standalone grid for playing everything: dadamachines composer pro appeared first on CDM Create Digital Music.
YouTube is elevating new voices to prominence in music technology as in other fields. But the platform’s esoteric rules are also ripe for abuse – as one YouTube host claims.
The story begins with around a product, the Unison MIDI Chord Pack. This US$67 pack is already, on its surface, a bit strange. Understandably, users without musical training may like the idea of drag-and-drop chords and harmony – nothing wrong with that. But the actual product appears to be just a set of folders full of MIDI files … of, like, chords. Not real presets, but just raw MIDI chords. They even demo the product in Ableton Live, which already contains built-in chord and arpeggiator tools.
You can watch the demo video on their product page – at first, I couldn’t quite believe my eyes. They claim that this will help you to create chords “with the right notes, in the right order” without theory background – except most of the drag-and-drop material is made up of root position triads, labeled via terminology you’d need some theory to even read.
It’d be a little bit like someone selling you a Build Your Own House Construction Set that was made up of a bag of nails… and the nails were just ones they’d found lying on the ground. Maybe I’m missing something, but I definitely can’t figure out this product from their documentation.
Ave Mcree aka Traptendo, a well-known YouTube host, decided to take on the developers. Calling the product a “scam,” he says he pointed to other, free sources for the same MIDI content – meaning that, as it wasn’t actually original, at best the Unison product amounts to plagiarism.
As if it weren’t already strange enough that these developers were selling MIDI files of chords, they then responded to Ave Mcree’s video by filing a copyright claim. At this point, our story is picked up by Tim Webb at the excellent Discchord blog, who choose a nice, succinct headline:
Fuck Unison Audio [Discchord]
I’ve reached out to Unison for further comment.
A video about Unison Audio copyright striking my “Unison Audio Chord MIDI Pack Scam” video! This is a channel strike which is affects my monetization rights and could get my channel deleted. I don’t care if that happens because I’m not going to stand for people hustling you. It’s sad that YouTube allows shills and dishonest companies to strike honest reviewers. It’s censorship at it finest! YouTube as a company has lost all of it’s charm when it stop caring about the community on here. Do I like doing videos like these? No, but it’s necessary when people are using their influence for the wrong things. I’m not knocking their hustle by NO MEANS, but offer a product that is 100% YOURS!!!!!
What makes this story so disturbing: not only is YouTube’s lax structure vulnerable to abuse, it seems to actively encourage scammers.
The copyright claim appears to be based on the the pack included for demonstration purposes in his video. While I’m not a lawyer, this should fall dead center under the doctrine of fair use as well as the royalty free license provided by the developers themselves.
Here’s where YouTube’s scale and automation, though, collide with the intricacies of copyright law requirements (mainly in the USA, but possibly soon impacted by changes in the European Union). It’s easy to file a copyright claim, but hard to get videos reinstated once that claim is filed.
As a result: there’s almost nothing stopping someone from filing a fraudulent copyright claim just because they don’t like your video. In this case, Unison can simply use a made-up copyright claim as a tool to kill a video they didn’t like.
You can read up on this world of hurt on Google’s own site:
After all the recent fears about the EU and filtering, automated filtering doesn’t result in a strike – strikes require an explicit request. The problem is, creators have little recourse once that strike is processed. They can contact whomever made the complaint and get them to reverse it – which doesn’t work here, if Unison’s whole goal was removing the video. They can wait 90 days – an eternity in Internet time. Or they can file a “counter notification” – but even this is slow:
After we process your counter notification by forwarding it to the claimant, the claimant has 10 business days to provide us with evidence that they have initiated a court action to keep the content down. This time period is a requirement of copyright law, so please be patient.
Counter Notification Basics [Google Support]
It was only a matter of time before music and music tech encountered the problems with this system, as YouTube grows. Other online media – including CDM – are subject to liability for copyright and libel, as we should be. But legal systems are also set up to prevent frivolous claims, or attempts to use these rules simply to gag your critics. That’s not the case with YouTube; Google has an incentive to protect itself more than its creators, and it’s clear the system they’ve set up has inadequate protections against abuse.
What kind of abuse?
Fuck Jerry, the Instagram “influencer” agency that ripped off memes and helped build the ill-fated Fyre Festival, used copyright strikes to remove a video critical of its operation.
And the system has produced a swarm of copyright trolls.
And it gets worse from there: the system can result in outright extortion, with Google proving unresponsive to complains. The Verge reported on this phenomenon earlier this year, and while Google claimed to be working on the problem, observed that even major channels needed their woes to go viral before even getting a response from the company:
This isn’t the only problem on YouTube’s platform for music and music technology. While the service is promoting new personalities, disclosure around their relationships with sponsors are often opaque. Traptendo also observes that videos touting various tutorials on working with harmony may be sponsored by Unison Audio, with little or no acknowledgement of that relationship.
That same complaint has been leveled at CDM and me not to mention… okay, all the print magazines I’ve ever written for. But we at least have to answer for our credibility, or lose you as readers. (And sometimes losing you as readers is exactly what happens.) YouTube’s automated algorithms, by contrast, mean videos that simply mention the right keywords or appeal to particular machine heuristics can be promoted without any of that human judgment.
YouTube has unquestionable value, and to pretend otherwise would be foolhardy. Traptendo’s videos are great; I hope this one that was removed gets reinstated.
At the same time, we need to be aware of some of the downsides of this platform. And I’m concerned that we’ve become dependent on a single platform from a single vendor – which also means if anything goes wrong, creators are just as quickly de-platformed.
And regardless of what’s going on with YouTube, it’s also important for humans to spread the word – at least to say, friends don’t let friends spend their money on … chords.
I don’t believe all music “needs to be free,” but I would least say triads are. Actually, wait… I could use some spare spending money. Excuse me, I’m going to slip into the night to go sell some all-interval tetrachords on the black market.
Here’s Traptendo showing you how to mess with harmony in FL Studio – minus the overpriced “pack”:
Oh yeah and – check out Ave’s site on the open Web, complete with full blog:
The post Welcome to YouTube Hell: A MIDI pack reseller silences criticism appeared first on CDM Create Digital Music.
Toontrack has launched the Movie Scores Suspense EZkeys MIDI, a collection of piano/keyboard MIDI inspired by scenes and scores in the suspense genre. There’s something about movies. Although we know how a plot will unfold, we’re still there – hooked and at the edge of our seats, waiting to be able to exhale that sigh […]
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Intuitive Audio has released version 1.5 of Chord Composer, a powerful chord progression plugin for Windows and Mac. The update improves on existing MIDI and Chord Editing, and also introduces Sounds, Guitar Mode and Chord Building. The Chord Composer is an extremely powerful Chord Progression Plug-in. Not only does it allow you to quickly and […]
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ADSR Sounds has introduced MELO by Surge Sounds, a creativity enhancing collection of innovative sounds for the modern producer. The pack includes 128 Serum presets, custom wavetables, construction kits and more. With millions of plays on Spotify, YouTube & Soundcloud, Marshmello has been headlining festivals with his modern take on Future Bass & Pop. Currently […]
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Das klingt zunächst ziemlich reißerisch und als würde man 16 Stimmen auf ein Modul gepackt haben, es dürfte aber eher dem Swarm Oszillator von Radikal folgen, der bereits 8 Oszillatoren in sich trug und trägt. Auf dem Gehäuse steht dennoch 16-Voice-Demon Core Oscillator.
Awesome, Saurier kämpfen gegen Ninjas – im Weltraum! Der Finnische Oszillator beherrscht lineare FM und PWM und kann sich verhalten wie bis zu 16 schräge und ungenau arbeitende Oszillatoren klassischer Art. Wenn man so will Rechteck und Sägezahn im 16er-Pack. Gesteuert wird das per CV und es sind für Sync und Coauch Eingänge vorhanden, ebenso wie die Stabilität der Oszillatoren insgesamt. Die Stimmen selbst werden über 16 LEDs angezeigt. Die Oszillatoren können einen Bereich von 6 Oktaven abdecken und nehmen 25mm Tiefe an Platz ein. Insgesamt kann tatsächlich jede Stimme einzeln gesteuert werden und ist daher sogar tatsächlich 16stimmig. Das Modul ist 12HP breit. Um das Ganze insgesamt sinnvoller zu verwalten und zu steuern gibt es ein weiteres Modul mit 8HP Breite, den Expander.
Dazu gibt es einen Expander, der vier CV-Eingänge zu dem einen auf dem Hauptmodul hinzufügt, sodass man 4×4 Oszillatoren haben kann. Besonders ist jedoch, dass es für und im Expander tatsächlich 16 individuelle ADSR-Hüllkurven gibt, der ebenfalls nicht nur CV sondern auch MIDI beherrscht.
Die Website von Supercritical befindet sich hier.
Beide Module kommen im Mai bis Juni 2019, die Preise sind noch nicht bekannt.
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:
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.
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
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:
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.
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