Samples From Mars launches MPC1 drum synth sample pack

MPC1 From Mars feat

Samples From Mars has launched a new sample pack featuring the sounds of the rare, early 80s MPC1 analog drum synthesizer and sequencer from MPC Electronics. In contrast to Akai’s more famous line of digital MPC samplers, this MPC is a short-lived, 100% analog drum synthesizer that sounds something like an 808 crossed with a […]

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MPC Live – New Air reverb OS 2.4 (MPC like an external FX processor)

Published on Feb 7, 2019 Default Corporation

“Using MPC Live like an external FX processor on Prophet 12 with new Air Reverb (first playing OFF and after with FX on). The Electric piano it’s a personal patch on DSI Prophet 12. Recorded live and no post processing.”

See this post for details.

New Loops releases Trap of Gods & Bass House Kit sample packs

New Loops Trap of Gods

New Loops has announced its new sample pack Trap of Gods, a Wav and MPC Expansion pack featuring a full Trap construction kit with deep sub bass, punchy trap drums, and chanting choir stabs. You’ll find 60 one shots and loops including trap plucks, choir samples, synth pads, drums, and sound effects. Loops are broken […]

The post New Loops releases Trap of Gods & Bass House Kit sample packs appeared first on rekkerd.org.

Akai Force: hands-on preview of the post-PC live-in-a-box music tool

The leak was real. Akai have a standalone box that can free you from a laptop, when you want that freedom. It works with your computer and gear, but it also does all the arranging and performance (and some monster sounds and sequencing) on its own. It’s what a lot of folks were waiting for – and we’ve just gotten our hands on it.

Akai have already had a bit of a hit with the latest MPCs, which work as a controller/software combo if you want, but also stand on their own.

The Akai Force (it’s not an MPC or APC in the end) is more than that. It’s a single musical device with computer-like power under the hood, but standalone stability. It’s a powerful enough sequencer (for MIDI and CV) that you some people might just buy it on those merits.

But it also performs all the Ableton Live-style workflows you know. So there’s an APC/Push style interface, clip launching and editing, grids for playing drums and instruments, and sampling capability. There’s also a huge selection of synths and effects (courtesy AIR Music Technology), so while it can’t run third-party VST plug-ins, you should feel comfortable using it on its own. And it integrates with your computer when you’re in your studio – in both directions, though more on that in a bit.

And it’s US$1499 – so it’s reasonable affordable, at least in that it’s possibly cheaper than upgrading your laptop, or buying a new controller and a full DAW license.

First – the specs:

• Standalone – no computer required
• 8×8 clip launch matrix with RGB LEDs
• 7″ color capacitive multitouch display
• Mic/Instrument/Line Inputs, 4 outputs
• MIDI In/Out/Thru via 1/8″ TRS inputs (5-pin DIN adapters included)
• (4) configurable CV/Gate Outputs to integrate your modular setup
• (8) touch-sensitive knobs with graphical OLED displays
• Time stretch/pitch shift in real time
• Comprehensive set of AIR effects and Hype, TubeSynth, Bassline and Electric synth engines
• Ability to record 8 stereo tracks
• 16GB of on-board storage (over 10 gigs of sound content included)
• 2 GB of RAM
• Full-Size SD card Slot
• User-expandable 2.5″ SATA drive connector (SATA or HDD)
• (2) USB 3.0 slots for thumb drives or MIDI controllers

Clarification: about those eight tracks. You can have eight stereo tracks of audio, but up to 128 tracks total.

And there’s a powerful and clever scheme here that lets the Force adapt to different combinations of onboard synths and effects. Akai tells us the synths use a “weighted voice management” scheme so you can maximize simultaneous voices. Effects are unlimited, until you run out of CPU power. Since this is integrated hardware and software, though, you don’t fail catastrophically when you run out of juice, as you do on a conventional computer. (Ahem.)

All that I/O – USB connectivity, USB host (for other USB gear), CV (for analog gear), MIDI (via standard minijacks), plus audio input / mic and separate out and cue outs.

US$1499 (confirming European pricing), shipping on 5 February to the USA and later in the month to other markets.

I’ve had a hands-on with AKAI Professional’s product managers. The software was still pre-release – this was literally built last night – but it was very close to final form, and we should have a detailed review once we get hardware next month.

The specs don’t really tell the whole story, so let’s go through what this thing is about.

In person, the arrangement turns out to be logical and tidy.

Form factor

The images leaked via an FCC filing of a prototype did make this thing look a bit homely. In person with the final hardware, it seems totally logical.

On the bottom of the unit is a grid with shortcut triggers, looking very much like a Push 2. On the top is a touch display and more shortcut keys that resemble the MPC Live. You also get a row of endless encoders, which now Akai call just “knobs.”

The “hump” that contains the touch display enables a ton of I/O crammed onto the back – even with minijacks for MIDI, the space is needed. And it means the displays for the knobs are tilted at an angle, so they’re easier to read as you play, from either sitting or standing position.

There are also some touches that tell you this is Akai hardware. Everything is labeled. Triggers most often do just one thing, rather than changing modes as on Ableton Push. And there are features like obvious, dedicated navigation, and a crossfader.

In short, you can tell this is from the folks who built the APC40. Whereas sometimes functions on Ableton Push can be maddeningly opaque, the Akai hardware makes things obvious. I’ll talk more about that in the review, of course, but it’s obvious even when looking at the unit what everything does and how to navigate.

Oh and – while this unit is big, it still looks like it’d fit snugly onto a table at a venue or DJ booth. Plus you don’t need a computer. And yeah, the lads from Akai brought it to Berlin on Ryanair. You can absolutely fit it in a backpack.

Workflows

What impresses me about this effort from Akai is that it takes into account a whole range of use cases. Rather than describe what it does, maybe I should jump straight into what I think it means for those use cases, based on what I’ve seen.

It runs live sets. Well, here this is clearly a winner. You get clip launching just like you do with Ableton Live, without a laptop. And so even if you still stick to Live for production (or Maschine, or Reason, or FL Studio, or whatever DAW), you can easily load up stems and clips on this and free yourself from the laptop later.

You get consistent color coding and near-constant feedback on the grid and heads-up display / touch display about where you are, what’s muted, what’s record-enabled, and what’s playing. My impression is that it’s far clearer than on other devices, thanks to the software being built around the hardware. (Maschine got further than some of its rivals, but it lacks this many controls, lights, and display.)

That feedback seemed like it’s also not overwhelming, either, because it’s spread out over this larger footprint. There’s also a handy overview of your whole clip layout on the touch display, so you can page through more clip slots easily.

Logical, dedicated triggers and loads of feedback so you don’t get lost.

Full-featured clip launching and mixing.

It’s a playable instrument – finger-drummer friendly. Of course, now that you can do all that stuff with clips, as with Push, you can also play instruments. There are onboard synths from AIR – Electric, Bassline, TubeSynth, and the new multifunctional FM + additive + wavetable hybid Hype. And there are a huge number of effects from lo-fi stuff to reverbs to delays, meaning you can get away without packing effects pedals. It’s literally the full range of AIR stuff – so like having a full Pro Tools plug-in folder on dedicated hardware.

That may or may not be enough for everyone, but you can also use MIDI and CV and USB to control external gear (or a computer).

The grid setup features are also easy to get into and powerful. There are a range of pitch-to-grid mappings, from guitar fret-style arrangements to a Tonnetz layout (5th on one axis, 3rd on another) to piano and chromatic layouts. There are of course scale and chord options – though no microtuning onboard, yet. (Wait until Aphex Twin gets his, I think.)

And there are drum layouts, too, or step sequencers if you want them.

Two major, major deviations from Push, though. You know how easy it is to accidentally change parts on Push when you’re trying to navigate clips and wind up playing the wrong instrument? Or how easy it is to get lost when recording clips? Or how suddenly a step sequencer turns up when you just want to finger drum a pad? Or…

Yeah, okay well – you have none of those problems here. Force makes it easy to select parts, easy to select tracks, easy to mute tracks, and lets you choose the layout you want when you want it without all that confusion.

Again, more on this in the review, but I’m thoroughly relieved that Akai seems to understand the need for dedicated triggers and less cognitive overhead when you play live.

Tons of playing options.

It can replace a computer for production, if you want. There’s deep clip editing and sampling and arrangement and mixing functionality here. Clips even borrow one of the best features from Bitwig Studio – you can edit and move and duplicate audio inside a clip, which you can’t do in Live without bringing that audio out into the Arrangement. So you could use this to start and even finish tracks.

The Force doesn’t have the same horsepower as a laptop, of course. So you’re limited to eight stereo tracks. Then again, back in the days of tape that bouncing process was also creatively useful – and the sampling capabilities here make it easy to resample work.

Powerful clip editing combines with sampling – and you can use both the touchscreen and dedicated hardware controls.

Or you can use it as a companion to a computer. You can also use Force as a sketchpad – much like some iPad tools now, but of course with physical controls. There’s even an export to ALS feature coming, so you could start tracks on Force and finish them in Ableton Live – with your full range of mixing an mastering tools and plug-ins. (I believe that doesn’t ship at launch, but is due soon.)

Also coming in the first part of this year, Akai are working on a controller mode so you can use Force as an Ableton Live controller when you are at your computer.

There’s wired connectivity. You can set up MIDI tracks, you can set up CV tracks. There’s also USB host mode. Like the grid, but wish you had some MPC-style velocity-sensitive pads? Or want some faders? Plug in inexpensive controllers via USB, just as you would on your computer. You only get two audio ins, but that’s of course still enough to do sampling – and you get the sorts of sampling and live time stretching capabilities you’d expect of the company that makes the MPC.

For audio output, there’s a dedicated cue out as well as the stereo audio output.

On the front – SD card loading (there’s also USB support and internal drive upgradeability), plus a dedicated cue output for your headphones.

The full range of AIR effects is onboard.

Powerful audio effects should help you grow with this one.

And there’s wireless connectivity, too. You can sync sample content via Splice.com – which includes your own samples, by the way. (Wow, do I wish Roland did this with Roland Cloud and the TR-8S – yeah, being able to have all my own kits and sample sets and sync them with a WiFi connection is huge to me, even just for the sounds I created myself.)

There’s Ableton Link support, so you can wirelessly sync up to your computer, iPad, and other tools – clocking the Force without wires.

There’s even wireless support for control and sound, meaning that Force is going to be useful even before you plug in cables.

Yeah, it’s a standalone instrument, but it’s also a monster sequencer / hub.

Bottom line. It replaces Ableton Live. It works with Ableton Live. It replaces your computer. It works with your computer. It’s a monster standalone instrument. It’s a monster sequencer for your other instruments. It does a bunch of stuff. It doesn’t try to do too much (manageable controls, clear menus).

Basically, this already looks like the post-PC device a lot of us were waiting for. Can’t wait to get one for review.

The post Akai Force: hands-on preview of the post-PC live-in-a-box music tool appeared first on CDM Create Digital Music.

What could make APC Live, MPC cool: Akai’s new software direction

Akai tipped their hand late last year that they were moving more toward live performance. With APC Live hardware leaked and in the wild, maybe it’s time to take another look. MPC software improvements might interest you with or without new hardware.

MPC 2.3 software dropped mid-November. We missed talking about it at the time. But now that we’re (reasonably certain, unofficially) that Akai is releasing new hardware, it puts this update in a new light. Background on that:

APC as standalone hardware? Leaked Akai APC Live

Whether or not the leaked APC Live hardware appeals to you, Akai are clearly moving their software in some new directions – which is relevant whatever hardware you choose. We don’t yet know if the MPC Live hardware will get access to the APC Live’s Matrix Mode, but it seems a reasonable bet some if not all of the APC Live features are bound for MPC Live, too.

And MPC 2.3 added major new live performance features, as well as significant internal synths, to that standalone package. Having that built in means you get it even without a computer.

New in 2.3:

Three synths:

  • A vintage-style, modeled analog polysynth
  • A bass synth
  • A tweakable, physically modeled electric piano

Tubesynth – an analog poly.

Electric’s physically-modeled keys.

Electric inside the MPC Live environment.

As with NI’s Maschine, each of those can be played from chords and scales with the pads mode. But Maschine requires a laptop, of course – MPC Live doesn’t.

A new arpeggiator, with four modes of operation, ranging from traditional vintage-style arp to more modern, advanced pattern playback

And there’s an “auto-sampler.”

That auto-sampler looks even more relevant when you see the APC Live. On MPC Live (and by extension APC Live), you can sample external synths, sample VST plug-ins, and even capture outboard CV patches.

Of course, this is a big deal for live performance. Plug-ins won’t work in standalone mode – and can be CPU hogs, anyway – so you can conveniently capture what you’re doing. Got some big, valuable vintage gear or a modular setup you don’t to take to the gig? Same deal. And then this box gives you the thing modular instruments don’t do terribly well – saving and recalling settings – since you can record and restore those via the control voltage I/O (also found on that new APC Live). The auto-sampler is an all-in-one solution for making your performances more portable.

Full details of the 2.3 update – though I expect we’ve got even more new stuff around the corner:

http://www.akaipro.com/pages/mpc-2.3-desktop-software-and-firmware-update

With or without the APC Live, you get the picture. While Ableton and Native Instruments focus on studio production and leave you dependent on the computer, Akai’s angle is creating an integrated package you can play live with – like, onstage.

Sure enough, Akai have been picking up large acts to their MPC Live solution, too – John Mayer, Metallica, and Chvrches all got named dropped. Of those, let’s check out Chvrches – 18 minutes in, the MPC Live gets showcased nicely:

It makes sense Akai would come to rely on its own software. When Akai and Novation released their first controllers for Ableton Live, Ableton had no hardware of their own, which changed with Push. But of course even the first APC invoked the legendary MPC legacy – and Akai has for years been working on bringing desktop software functionality to the MPC name. So, while some of us (me included) first suspected a standalone APC Live might mean a collaboration with Ableton, it does make more sense that it’s a fully independent Akai-made, MPC-style tool.

It also makes sense that this means, for now, more internal functionality. (The manual reference to “plugins” in the APC Live manual that leaked probably means those internal instruments and effects.) That has more predictability as far as resource consumption, and means avoiding the licensing issues necessary and the like to run plug-ins in embedded Linux. This could change, by the way – Propellerhead’s Rack Extensions format now is easily portable to ARM processors, for example – but that’s another story. As far as VST, AU, and AAX, portability to embedded hardware is still problematic.

The upshot of this, though, is that InMusic at least has a strategy for hardware that functions on its own – not just as a couple of one-off MPC pieces, but in terms of integrated hardware/software development across a full product line. Native Instruments, Ableton, and others might be working on something like that that lets you untether from the computer, but InMusic is shipping now, and they aren’t.

Now the question is whether InMusic can capitalize on its MPC legacy and the affection for the MPC and APC brands and workflows – and get people to switch from other solutions.

The post What could make APC Live, MPC cool: Akai’s new software direction appeared first on CDM Create Digital Music.

Ableton Live as standalone hardware? Leaked Akai APC Live

It’s what a lot of people wanted – an MPC crossed with an Ableton Push – which could mean it’s too good to be true. But the APC Live leaked in images looks viable enough, and it could signal big changes for electronic performance in 2019.

Standalone hardware that does what software does – it’s a funny thing. It has seemed inevitable for a long time. But lots of hardware remains tethered to the ubiquitous computer (Ableton Push, Novation Launchpad, Native Instruments Maschine, Native Instruments Traktor) … or is exceptionally expensive (Pioneer CDJ). Then there was Akai’s own MPC Live, which seemed to be both affordable and flexible – you can use it with or without a computer – but failed to catch on. That may be because the MPC Live was too late to win people over to a new workflow. It wasn’t really like the original MPC hardware, and computer users had opted for Maschine, Live, and other tools.

That makes these leaked photos of the supposed Akai APC Live so interesting. Ableton, with a user base literally in the millions, doesn’t have to convince anyone of a new workflow. If the APC Live does what the MPC Live does – work as a controller with your computer plugged in, but then switch to standalone mode for onstage use – it could be a winner.

The ever leak-savvy sequencer.de get the scoop, in a forum post (which seems to get these from an FCC filing):

https://www.sequencer.de/synthesizer/media/apc-live-3.976/

Behold:

It seems to have everything you’d need:

A Push-style grid surface with shortcuts.
Encoders and heads-up display for parameter editing.
An MPC-style workspace with edit buttons.
USB connection (locked, so it doesn’t come out accidentally) and 2-port USB hub for expansion (or storage, hard to say).
SD card slot (load samples, sets?).
Separate cue mix for your headphones.
4 outs (so you can also have a separate cue line mix/monitors out, or easy quad output, or whatever)
CV and gate, MIDI – though crammed on minijacks, so you’ll need some dongles, no doubt.
XLR input for a vocal mic.

The only thing that’s odd about this is that the MPC-style screen is tacked rather awkwardly on top, giving this a really tall footprint.

The other big question will be what happens with plug-ins. Akai for their part first came out talking about embedded Windows on their MPC Live, but eventually shipped a Linux-based application. That makes their MPC software behave the same as a self-contained app on the hardware as it does on your computer. But Live users are accustomed to using third-party plug-ins; will they have to stick to Live internal devices when running in standalone mode?

Another possibility – maybe the “live” moniker doesn’t really mean this works on its own. This could just be an oversized controller for Ableton Live, but still tethered to the computer. That would make sense, too – it would be a lot of work to get Live to run on its own, and just shipping another controller would be an easy solution.

Just don’t rule out standalone as a possibility. It’s technically possible, and we know Ableton has posted some Linux and embedded engineering jobs on their site – plus Akai has done this once before, meaning they have the talent in-house to work on it.

I expect we’ll know later this month, either at the NAMM show or slightly before.

The post Ableton Live as standalone hardware? Leaked Akai APC Live appeared first on CDM Create Digital Music.

Akai Professional releases MPC Software 2.3 incl. TubeSynth, Bassline and Electric

Akai MPC Software 2.3

Akai Professional has released MPC Software 2.3, a major software and firmware update that introduces a number of user requested features and functionality enhancements. The update includes the addition of three powerful, versatile, and expressive built-in synthesizers by AIR Music Technology to the MPC standalone experience: TubeSynth, Bassline and Electric. This is a landmark feature […]

The post Akai Professional releases MPC Software 2.3 incl. TubeSynth, Bassline and Electric appeared first on rekkerd.org.

Akai Pro intros iMPC Pro 2 incl. audio track recording, available for pre-order

Akai Pro iMPC Pro 2 iPhone

Akai Professional has announced that iMPC Pro 2 for iPhone is available for pre-order on the Apple App store. Following up the original ground-breaking iMPC for iPhone app, iMPC Pro 2 elevates song production for all mobile musicians by adding new track types and enhancing the beloved workflow of iMPC, with the addition of vocal […]

The post Akai Pro intros iMPC Pro 2 incl. audio track recording, available for pre-order appeared first on rekkerd.org.

Robaux SWT16+ Sequencer erfindet sich neu. Intuitiver und größer!

Robaux SWT16+Robaux SWT16+

Vor einiger Zeit sprach mich jemand an, er hätte einen Sequencer gebaut, der war gar nicht übel und landete auch hier in Gearnews. Etwas später fragte ich nach und er meinte – jetzt besser nicht. Der Grund war, er war nicht so zufrieden und hat das Konzept noch einmal komplett überarbeitet.

Robert Menzel ist der Mensch hinter dem Sequencer und der Robaux SWT16+ wurde ganz offensichtlich verändert, denn nun gibt es mehr von allem: Mehr Taster und mehr Anschlüsse und auch die Anordnung hat sich verändert. Außerdem gibt es nun eine Beschriftung, damit die Bedienung nicht zu kryptisch ist. Der Speicher scheint auch etwas anders organisiert zu sein, denn man hat nun einfach mehr Patterns.

Robaux SWT16+ Sequencer – mehr von allem

Anders gesagt: Es ist eigentlich ein neuer Sequencer, denn den alten gab es zwar zu sehen und auch als Bausatz, aber es ist doch einiges passiert, auch wenn der „neue“ nur das „+“ mehr im Namen trägt. Er ist aber „nur“ aufgebohrt und erweitert worden und kann nun doch etwas mehr. Seine Bedienung ist ähnlich wie bei einer kleine MPC und entsprechend direkt ist auch der Zugang. Es gibt allerdings nun 64 Steps für jede Spur und 16 Spuren sind es insgesamt. Aus einer wurden 16 Einstellungen. Der alte SWT wurde übrigens bereits beschrieben. Trigger lassen sich nun invertieren, auch die Zufalls-Funktion ist optimiert worden und das Timing wurde ebenfalls überarbeitet. War der erste Entwurf bereits alles andere als schlecht, dieser hier ist noch besser. Es gibt allerdings auch zunehmend mehr Sequencer-Angebote.

Die Bedienung und das Handling sind einfacher und direkter und damit kann das Modul spätestens Anfang Januar als Selbstbau-Variante auf den Markt kommen. Der Preis ist noch nicht bekannt und die „fertige“ Version wird etwas später dazu kommen und auch dessen Preis ist noch nicht festgelegt.

Weitere Infos

Video

Robaux SWT16+ Sequencer erfindet sich neu. Intuitiver und größer!

Robaux SWT16+Robaux SWT16+

Vor einiger Zeit sprach mich jemand an, er hätte einen Sequencer gebaut, der war gar nicht übel und landete auch hier in Gearnews. Etwas später fragte ich nach und er meinte – jetzt besser nicht. Der Grund war, er war nicht so zufrieden und hat das Konzept noch einmal komplett überarbeitet.

Robert Menzel ist der Mensch hinter dem Sequencer und der Robaux SWT16+ wurde ganz offensichtlich verändert, denn nun gibt es mehr von allem: Mehr Taster und mehr Anschlüsse und auch die Anordnung hat sich verändert. Außerdem gibt es nun eine Beschriftung, damit die Bedienung nicht zu kryptisch ist. Der Speicher scheint auch etwas anders organisiert zu sein, denn man hat nun einfach mehr Patterns.

Robaux SWT16+ Sequencer – mehr von allem

Anders gesagt: Es ist eigentlich ein neuer Sequencer, denn den alten gab es zwar zu sehen und auch als Bausatz, aber es ist doch einiges passiert, auch wenn der „neue“ nur das „+“ mehr im Namen trägt. Er ist aber „nur“ aufgebohrt und erweitert worden und kann nun doch etwas mehr. Seine Bedienung ist ähnlich wie bei einer kleine MPC und entsprechend direkt ist auch der Zugang. Es gibt allerdings nun 64 Steps für jede Spur und 16 Spuren sind es insgesamt. Aus einer wurden 16 Einstellungen. Der alte SWT wurde übrigens bereits beschrieben. Trigger lassen sich nun invertieren, auch die Zufalls-Funktion ist optimiert worden und das Timing wurde ebenfalls überarbeitet. War der erste Entwurf bereits alles andere als schlecht, dieser hier ist noch besser. Es gibt allerdings auch zunehmend mehr Sequencer-Angebote.

Die Bedienung und das Handling sind einfacher und direkter und damit kann das Modul spätestens Anfang Januar als Selbstbau-Variante auf den Markt kommen. Der Preis ist noch nicht bekannt und die „fertige“ Version wird etwas später dazu kommen und auch dessen Preis ist noch nicht festgelegt.

Weitere Infos

Video