Famous Audio launches Hip Hop Lab

Famous Audio has released Hip Hop Lab, a sample pack featuring a collection of kits layered with inspirational, saturated classic sounds and

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Audentity releases Deep House Ibiza sample pack

Audentity has launched Deep House Ibiza, a sample pack bursting with deep house rolling bass loops, warm summery chords, melodic synth loops,

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Aalto 1.7 Brings Support For Multidimensional Polyphonic Expression

Madrona Labs has released version 1.7 of Aalto, bringing Multidimensional Polyphonic Expression (MPE) support to the semi-modular synthesizer instrument for Windows and Mac. Multidimensional Polyphonic Expression is a proposed specification, designed to provided a standardized way for hardware and software manufacturers to … href="http://www.synthtopia.com/content/2015/07/30/aalto-1-7-brings-support-for-multidimensional-polyphonic-expression/">Continue reading class="meta-nav">→

Sample Tools by Cr2 releases Festival Anthems

Sample Tools by Cr2 has announced the release of Festival Anthems, its latest Production Toolkit series sample pack. Are you interested in

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deadmau5 wants EDM DJS to actually play, produces Tumblr poetry in the process


deadmau5 has a message for DJs: don’t just DJ.

here is what i dont get [Tumblr]

And we couldn’t agree more. For once, bless the mouse – and, give the man some credit, he has a sense of humor and self-deprecation. (That’s his image above, not ours.)

At the same time, Joel Zimmerman’s message has come a long way. Just back in 2012, he cynically suggested everyone on the scene was just “pushing play” and asked everyone to quit pretending already – fair, perhaps, but not entirely optimistic. And I gave him a hard time for it, because I though it was unfair to the people who were assembling live performances (deadmau5 walked back some of his original article and gave some credit to all y’all controllerists out there):
Deadmau5, Honest About His Own Press-Play Sets, Misses Out On “Scene”

Now, though, he’s saying something different: quit just playing CDs and actually jam live. Play a keyboard. Hook up some MIDI or OSC control. Do something. And sure enough, his own bio rejects the notion of CDs and emphasizes playing his own tracks (live PA style) and on-the-fly cutting and editing (though I’d have to research more what he’s actually doing).

It’s clearly a message the top of the EDM circuit needs to hear, and one the CDM readership would almost certainly endorse. I’d agree with every single word, except I do feel obligated to say I feel strongly that there’s a role for good mixing and selection, for DJs. And even if deadmau5 doesn’t want to be called a DJ, other people may be fine with it. On the other hand, people booked around a hit “banger” aren’t likely to surprise anyone with their subtle track selection, too much faking keyboard lines to the audience is obnoxious, and I frankly what deadmau5 is describing, absolutely, I agree – it’s horrific.

I agree – you and all your friends, probably, agree – so much so that under normal circumstances bringing all this would be boring. Except that this being deadmau5, eloquent troll for all electronic music everywhere on the Internet, it takes another turn. Okay, not only did deadmau5 run to the defense of the poor horses subjected to David Guetta’s nightmare-dystopian Pascha opening, but now this. (Yes, horses, the four-legged kind, though “objectification of women” or “Native American racism” could easily have been topics – that was a three-for-one Ibiza fail there.)

Here’s what I want: I want a t-shirt for each one of these phrases:

you show up to X shitfest, and play a CD.




are you or are you not a guy who can use a comupter to make music?

CDM has a new logo and redesign launching before summer is out. Now I have the phrase that will go on the back.

Alternatively, these:


youre beyond a CD player.

And the best:

So you cant pllay a keyboard? COOL! ME NEITHER! MIDI bro.

OSC is the latest fuckin craze.

get your script on bitch.



throw down some smpte on another track to sync some tailored visuals too…

I swear I’m going to get motion back up, too.

Actually, as I’m playing this weekend, I’ve composed my own little poem, in the style of deadmau5. People ask me about my own story, so here it is.

I’m setting an egg timer and briefly pretending I don’t know how to type in the hopes that it will come out like a deadmau5 Tumblr rant.

so, im actually like this composer whatever in new york but i turn into this cdm blogger man.

and im making music im like fuckin aroung with abledong live and that whatever looping stretching thing with all the grain settings long aso i can play a modern dance performance in brooklyn that winds up going for like an hour and i want it to be all ambient.

im making waves. i rinse it. i shave it. shave it all off.

and then im suddenly in berlin and making techno because i went to barghain a few 2 many times and now i dont know i might just dj this weekend just in case people get borded of me lining up claps on my korg volca meeblip rig because you know i listen to some tracks some time and likke to dance san dso they sometimse want me to play the whole damn thing

i show up to club x, i show up to club y, i show up to club xy i really need a booking manager

i never pirated nothing its all nfr nfr nfr

so i get the d2 the native instruments thing maybe i play with stems that’s the new shit like four tracks of whatever so im doing something creative but thats not ready yet i dont no if native instruments is reading this far but yeah im down for some stems

i totally forgot what this was supposed to be about im stopping now.

now everyone in canada knows mu name

i am totally a guy who can use a comupter to make music because create digtial fockin music yo craz cats.

i cant believe i sat through a whole film yestrday that told me computers are shit computers totally arent shit did you hear from deamdouse people areplaying like cds for 200k something? dollars? whoa. i should get into edm. then i could afford a modular i dream of wires right now i can kind of mainly only afford those nfrs and my meeblp which im obligated to tell you is available now from dotcom.

i can totally play a keyboard which is good because if i couldn’t im not sure how id’ fix it with MIDI or osc or the 80s bro.



That almost sort of worked. Not really.

I really do hope someone in EDM starts playing synth lines over top of their set or adds fireworks and singing ladies behind them or whatever the point of this rant actually was. Sounds good. I … probably won’t get to see it, assuming I do stay away from Electric Daisy Carnival.

But I think deadmau5 didn’t mean the whole IDM scene in general.

The post deadmau5 wants EDM DJS to actually play, produces Tumblr poetry in the process appeared first on Create Digital Music.

Drum Machines in Your Browser, And More Places to Find Web Audio and MIDI


Open a new tab, and suddenly you have a powerful, sequenced drum synth making grooves. Give it a shot:
Or read more. (This latest creation came out in June.)

This is either the future of collaborative music making or the Single Greatest Way To Make Music While Pretending To Do Other Work I’ve ever seen.

But, as a new effort works on sharing music scores in the browser, it’s worth checking up on the Web Audio API – the stuff that makes interactive sound possible – and connections to hardware via MIDI.

And there’s a lot going on, the sort of fertile conversation that could lead to new things.

Web Audio and Web MIDI are quite fresh, so developers around the world are getting together to learn from one another and discuss what’s possible. That includes the USA, UK, and Germany:

London: http://www.meetup.com/Web-Audio-London/
New York: http://www.meetup.com/New-York-Web-Audio-Meetup/
Berlin: http://www.meetup.com/berlin-web-audio-meetup/
Philly: http://www.meetup.com/Philly-Web-Audio-Meetup/

Paris was also host to an annual, international conference, which took place this year at famed research center IRCAM.

Online synths and other proofs of concept are likely just the beginning. Web music development began as a sometimes muddled conversation about whether browsers will replace traditional app deployment (so far, probably not). But as the tech has matured, developers are instead looking to ways to use the Web to create new kinds of apps that perhaps didn’t make sense as standalone tools in “native” software (or, for that matter, hardware).

That’s why it’ll be interesting to watch efforts like Yamaha’s to add browser-based patch editing and sharing for their Reface line. There are also more ambitious ideas, like using the browser to share audio for interviews, radio conversations, backup, and works-anywhere recording and streaming.

And there’s more.

Keith McMillen has a great two-article series introducing you to Web MIDI.

It explains what this is all about and what it can do – whether or not you are a developer, worth reading. And if you are a developer, code snippets!

There’s even some explanation of how to use MIDI code outside of Chrome. (Firefox and even Microsoft’s new Edge promise support soon.)

Making Music in the Browser – Web MIDI API

Making Music in the Browser – Web Audio API, Part 1

And their blog in general is full of surprisingly geeky wonderful stuff, not the normal marketing stuff. (In fact, let’s be fair, you’d fire your marketing manager if they did this. But… kudos.)


When we first started using the Web, it seemed like a clumsy way to duplicate things done better elsewhere. Now, it promises to be something different: a place that takes the software and hardware we love, and makes it more useful and connected. There’s something wonderful about switching the Internet off in the studio and focusing on making music for a while. But in this model, when you do turn the Internet on again, it becomes a place to focus more on music rather than be distracted.

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Watch How Arturia’s BeatStep Pro Sequences All Your Gear – Mega Meta Roundup


Do call it a comeback. The hardware sequencer, once a forgotten relic of the computer age, has returned with a vengeance. And the reason is simple: we need it. Sure, we might play with a computer, but we’ve fallen for other synthesizers and drum machines – a lot of it quite cheap, too. We want hands-on control so we can play live again, improvise with our hands rather than furrow our brows over a mouse and screen. And we might even have beloved analog gear and want it to groove along with everything else.

Few companies represent the blossoming of love for gear quite like Arturia. It was just a few short years ago that the name meant plug-in emulations of vintage gear. Now, people are more likely to think of something like the hardware MicroBrute synth.

Arturia’s first BeatStep was cool – a combination step sequencer and drum pad controller. But it was also limited: you could only sequence one part, and pattern triggering options were woefully limited.

This month, the company has shipped the long-awaited BeatStep Pro. I’m finishing a review now – it’ll be an in-depth hands-on, and I’m also waiting to make sure I have the latest firmware changes.

But since I’m focusing on those details rather than rushing, we can meanwhile watch some videos of just how this gear looks in action. And you can let me know if that raises other questions – what do you want to know? What gear do you care about working with? I’ll answer as much as I can in our review.

For starters, here are ten analog synths – plus Ableton Live. (Digital or analog? Yes.)

SonicState have gone into a detailed hands-on video:

SonicSense (not to be confused with the previous) have a film that shows how you’d use this live as both an analog (CV) and digital (MIDI) controller, with other hardware.

They’ve also gone step by step through a demo as a sort of tutorial, walking you through how you get started with the hardware:

Source have a hands-on with simultaneous live use of the analog and digital modes:

For more detailed breakdown, Arturia have gone into each individual mode. First, here are your connection options:

While it’s obvious you can do rhythmic sequencing from those pads, it’s also worth seeing the dedicated melodic mode:

And yes, that drum sequencing, too:

And even with all those jacks round the back, it is very possible that you would decide to justify the purchase of your BeatStep Pro solely on the basis of working with a computer. Here’s Arturia on combining it with Ableton Live (though workflow with other DAWs would be reasonably similar, too, so this remains relevant):

Some nice experiments from Tomeso in Germany – love the techniques here:

Seq1 controls Arturia MiniBrute SE via CV
Seq2 controls Arturia MicroBrute SE via CV
Drum Seq controls Arturia Spark 2 software via MIDI
The EPSi convolution reverb is integrated as a send effect via the recording interface. No additional effects.

Lastly, with all the talk of gear, let’s finish with some music making. Arturia traveled to Utrecht to visit the lovely Sonar Traffic and see how they work:

So, what would you like to see? And did we miss any good videos (like yours, for instance)? Let us know in comments.

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Positive Grid launches BIAS FX Desktop amp-and-effects processor

Positive Grid has announced the release of BIAS FX Desktop, the world’s first and only cross platform guitar amp-and-effects processor for Mac

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Producer Loops releases European House Vocals Vol 1

Producer Loops has announced the release of European House Vocals Vol 1, the first in a new series of powerful vocal-driven House

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J74 updates Progressive for Max for Live to v3.1

J74 has released version 3.1 of Progressive, a Max for Live plugin suite for chord progressions. Progressive allows you to create and

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