Artiuria Matrixbrute Editor/Librarian gesichtet! Direkt aus dem Medienkeller

Mediacellar Matribrute EditorMediacellar Matribrute Editor

Der Arturia Matrixbrute ist durch seine Verschaltungsmöglichkeiten durchaus komplex. Eigentlich aber auch gut zu bedienen, da es nicht all zu viele Geheimfunktionen oder Menüs gibt. Aber es gibt einen Editor.

Der Matrixbrute kann viel, außerdem möchte man ihn vielleicht steuern und nicht immer dort hin laufen. Per Zufalls fand ich den Editor bei einem Anbieter für Soundsets. Offenbar schon in der Version 4.0 gibt es ihn und nennt sich offiziell „MB mc V.4“.

Was macht es? Es leuchtet blau..

Die Haupt-Page zeigt alle Parameter auf dem Panel an, eine weitere sämtliche Modulationsverbindungen und zusätzlich sind 2D-Panels vorhanden, die jeweils Parameter steuern können. Neu in dieser Version sind offenbar die „Reiter“ und die entsprechende Übersicht der Modulationsverbindungen und 2D-Felder. Der wichtigste Teil ist eine große Klang-Übersicht mit Farbcodierung für Kategorieren, denn der Editor ist natürlich primär auch eine Klangbibliothek zum Sortieren von Klängen – was der eigentliche Anreiz sein dürfte zuzugreifen. Ebenfalls zum Programm des Anbieters gehören Anpassung für die freie Oberfläche Ctrlr – Masken für den Waldorf Pulse+, den Q oder den Roland JP8000 gibt es dort ebenfalls. Als Ergebnis bekommt man diese Software als Plug-In oder als Standalone Editor.

Matrixbrute Editor Librarian

Matrixbrute Editor Librarian

Mehr Information

Es gibt zwar eine Website, jedoch ist die Information über und das es den Editor gibt primär auf der Facebook-Präsenz aufgetaucht. Der Preis beträgt 24€, die meisten anderen Angebote liegen bei 12€ und es gibt auch einige kostenlose Downloads.

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.

Master your Roland TR-8S drum machine settings with a plug-in editor

Roland’s TR-8S added loads of parameters for shaping drum kits and effects. Now you can get at all of those without diving through menus with this VST/AU plug-in – and keep your drum machine settings stored with your project.

Hardware is great, but it introduces two problems. First, there are inevitably some parameters buried in menus that are hard to reach on the front panel, no matter how many knobs and faders makers add. Second, stuff you do on the hardware is likely to get out of sync with your DAW, leading to that invariable “what the Hell was this supposed to be?” feeling when you power things up. (Okay, sometimes that leads to happy accidents. Sometimes it just leads to misery.)

Momo Miller has been trucking through the full Roland range (plus KORG and Novation Circuit). He’s been adding plug-ins for just this reason. You get more accessible editing and control, and your settings stay inside your DAW projects for easy recall.

Now, first, what this isn’t: it isn’t a full-blown editor for the TR-8S. And it’s a shame, given Roland Cloud, that the manufacturer didn’t provide one. That also means loading custom samples on the TR-8S is a manual affair. This unofficial editor isn’t able to load sample files. And you don’t get full access to all of the TR-8S’ hidden parameters, like the deep settings per kit. So, Roland, if you’re listening – please, give us that.

You do, however, get a lot of access to parameters per sound and kit – basically, anything that has a MIDI CC assignment. And you can still save your changes on the hardware, for anything this controls. Plus you can save parameters separately in software. And there are some useful performance controller mappings.

Here’s what you get:

  • Full access to TR-8S parameters (as accessible via MIDI)
  • Control effects via custom-mapped X/Y performance controllers
  • Automation of parameters inside your DAW
  • Save parameter data with your DAW – including which kit was selected, which is invaluable on its own
  • Interactive visual display
  • 32-bit and 64-bit VST (Windows, Mac) AU (Mac) and standalone (Windows, Mac) versions

Have a look:

Price: 5,90€ / US$6.90

TR-8S editor/controller

The post Master your Roland TR-8S drum machine settings with a plug-in editor 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.

Circlefade CF1 – ein komplettes MIDI / CV Sequencer Studio

CF1 SequencerCF1 Sequencer

Was der Atari ST für MIDI war, ist der Circlefade CF1 für MIDI und CV inkl. USB, nämlich ein Sequencer mit Pianorollendarstellung in sehr kompakter Form.

Wer schon immer ohne Computer arbeiten will, das Gerät auch mitnehmen und sogar unterwegs ein paar Sequenzen bauen will, könnte das mit dem Circlefade CF1 tun. Der ist gerade mal so groß wie ein Gameboy und sieht auch aus wie ein Gamepod mit Display. Er hat einen klassischen Pianorollen-Editor.

Circlefade CF1 – Work in Progress

Aktuell ist das Gerät noch nicht fertig, sondern in der Entwicklung. Es ist die Zeit, in der man noch Feedback geben kann. Es ist allerdings bemerkenswert, dass man in dem kleinen Gerät auch 12 Ausgänge für analoge Steuerspannung findet, die man als Gate, CV, Anschlagdynamik oder als LFO verwenden kann.

Zusätzlich gibt es einen Song-Mode zum Arrangieren. Der Screen ist touchfähig, man braucht also nicht unbedingt ein iPad dazu. Jedenfalls gibt es auch noch Arpeggiatoren und Skalierhilfen und die Auflösung ist mit 1/128 im brauchbaren Rahmen. Interessant sind noch Ratcheting und eine KI für Sequenzen(er)findung.

Preis und Verfügbarkeit sind noch nicht fest. Sicher scheint, dass es eher um Arrangement als um Performance oder Live-Spiel geht, jedoch ist es nicht ausgeschlossen. Als Vorteil kann man schon nennen, dass die Patterns keine Grenze haben, wie das bei einigen rückständigeren Konzepten noch der Fall ist. Auch bei den Grooveboxen ist diese Grenze bei ernstzunehmenden neueren Konzepten verschwunden, wie es sich gehört. Mögen die aktuellen Angebote diesem Beispiel folgen.

Infos

Video

Can the MPC X win over some die-hard German MPC hardware users?

The MPC 2000. The 2000XL. The 500. These old Akai boxes inspired countless live sets – and many devoted fans still make them the centerpiece of their rigs.

But Akai abandoned the standalone hardware market for years. Native Instruments came along with Maschine, making the hardware just a controller for software running on a computer. And the MPC lost its place as the machine synonymous with the drum machine/sampler device.

Now, that looks set to change. Akai is back in the standalone hardware business with a new angle – get all the capabilities of a computer, running the same software, but without having to have a computer plugged in at all. And that goes up against Elektron’s own new standalone hardware – and Native Instruments’ own mature Maschine lineup back on the computer.

The toughest audience for the new MPC, then, has got to be those dedicated Akai MPC users. Ideally, you’d find some who are still using the older MPC onstage. And, ideally, they’d be German – well, partly because criticism sounds cooler than in English, and partly because of Germany’s wonderful culture of being honest, reflective, and articulate with opinions.

Berlin videojournalists did just that, and took the flagship Akai MPC X to the trio FJAAK (on Monkeytown Records). The result is exactly the sort of hands-on review I’d want to see – thorough, personal, musical.

They take a hard look at the “best-equipped MPC of all time.” (That sounds fair.) They express some reservations about all those expanded capabilities, but give the unit a great shakedown.

(Don’t worry – English subtitles.)

I think it’s nice to contrast this with the more limited approach (and smaller price and form factor) of the Elektron Digitakt.

For me, I’m still holding out for some quality time with the MPC Live, which seems to nicely bridge what you want in a standalone device with what you want in software (and works as conventional software/controller when your computer is connected). But the MPC X is big, beautiful, and a nice option if you’ve got the budget.

More:
http://www.akaipro.com/product/mpc-x

The post Can the MPC X win over some die-hard German MPC hardware users? appeared first on CDM Create Digital Music.

The new MPCs in videos, including how those new clips work

Following Akai’s announcement of the new standalone MPC models – MPC X and MPC Live – they’ve also released some videos.

Sound on Sound has a walkthrough:

And there’s the requisite promo film from Akai:

It’s important to note that adding standalone mode here doesn’t mean taking away anything from the computer/hardware combo. The software on the standalone MPCs is identical to what was previously available via the controller — even besting it, thanks to the MPC 2.0 software launch. Plugged into your computer, you get all the advantages you’re used to. You can add plug-ins, control MIDI on the device over USB, and drag and drop materials back to your DAW. But untethered, you can work without a computer – which also means less complexity and stability hassles in live setups.

People evidently thought I was suggesting tossing your laptop in a bin. Far from it: I think the real story here is that your computer does what it’s best at (like hosting plug-ins, handling arrangement duties, and showing things on a big display), while avoiding the situation where it can become awkward (certain live setups, or on the go, or when you want to focus on a music workflow without distractions).

The other interesting story here is the new approach to clip launching in the MPC 2.0 software. Despite the comparisons to Ableton Live, it’d be a stretch to imagine this as a real Ableton alternative – Ableton Live’s software is a complete DAW built around the clip model.

That said, I can imagine a big use case of people who have gotten used to pattern launching because Ableton is their main DAW, finding this comfortable when they’re playing onstage.

Frankly, there are also plenty of producers and DJs I know who avoid live sets because they haven’t had a rig they felt comfortable with. Setting up Ableton as their live gig tool might be daunting.

Reaching another use case, there are MPC users who are comfortable with that tool for production, and even are happy to use it for end-to-end track creation. Those folks are likely to be excited about the ability to use Audio Tracks. Now, if you do all your vocals and arrangement in Cubase, I don’t know that this is really for you. But for the drum machine-focused workflow, where someone just wants to add some vocals and do all the rest of their song writing on the MPC, this could fit.

For their part, Native Instruments are also adjusting their approach to arrangement workflows on Maschine; I’ll cover that in a separate story.

Akai are also meeting artists in a series called “standalone challenge” – one clearly geared at the US market, with some Grammy-winning legends:

The post The new MPCs in videos, including how those new clips work appeared first on CDM Create Digital Music.

Akai’s standalone MPCs just leaked – and they could replace your laptop

Welcome to the post-PC drum machine age. After years of leaving fans of standalone MPCs in the cold, Akai have unveiled machines that promise the flexibility of computer software – minus the computer.

And somehow all the specs and photos are on the Sweetwater website (doh!), so let’s copy-paste here. (For once, I’m glad not to be under an NDA.)

The MPC Live is probably the one you want, in a compact form factor and with a not-insane US$1,199 street price. And it’s no slouch:

mpclive-large

7″ touch screen
16 pads (hopefully these are these build on the quality of those on the previous MPC Renaissance flagship)
Weight: 2.5 kg (5.5 lbs)
Rechargeable battery (clever, that!)
16 GB of internal storage, plus external hard drive support
MPC 2.0 software has upgraded time warp and audio track recording (also putting it ahead of Maschine for DAW-like tasks)
Audio inputs: 2x 1/4″ plus 1 stereo RCA (and GND for connecting a turntable)
Audio outputs: 2x 1/4″ master, an additional 4×1/4″, plus the minijack headphone
MIDI I/O – 2 in, 2 out (that’s surprising on a small unit)
SD card
USB: 2x type A (for storage, presumably), 1x type B (for computer)
2.5″ SATA drive connector

Even the mid-range MPC Live has a surprisingly generous complement of I/O.

Even the mid-range MPC Live has a surprisingly generous complement of I/O.

We’ve already seen reasonably clever MPC software in the computer-tethered products. Now, the touchscreens on previous Akai products haven’t been the best ever, in my experience – though the bar is set high when you’re used to things like Apple’s superb iPad screens. But it absolutely beats menu diving – compare, for instance, the experience of using Pioneer’s new sample hardware. And perhaps they’ve upgraded the touchscreen component; that’ll be interesting to see.

The audio track thing to me is huge, as it vastly increases the range of what you can do with just the MPC. I suspect for a lot of producers, that’s enough to finish tracks (even if they move back to the computer for mixing and mastering).

It seems that basically what you’re getting is the MPC Touch with the software running internally on an embedded system – and some significant upgrade to I/O and better software. But given the MPC Touch was already pretty darn good, this could move the MPC Live into must-buy territory.

Of course, if you want something bigger and more powerful / own a car to carry it around or want to leave something in the studio, there’s the US$$2,199 MPC X.

It’s got everything the MPC Live has, with a bigger form factor, a bigger screen, more dedicated controls, and more I/O.

The big'n.

The big’n.

So you get:
10.1″ multi-touch screen
CV/gate for analog connectivity – 8 of them! (seems it’s output only)
Audio inputs 3/4 are both jack and RCA a
8 outputs instead of 6
4 MIDI outputs instead of 2

Another sign that this is power over portability – there’s no mention of battery power.

A big, articulated screen, extra hands-on control, and loads of I/O are what you get on the MPC X, in exchange for being a bit less mobile and paying over two grand.

A big, articulated screen, extra hands-on control, and loads of I/O are what you get on the MPC X, in exchange for being a bit less mobile and paying over two grand.

The leaked specs don’t yet have weight, but then, you’re not really buying this one for portability.

That’s all very cool, and it should be big in the American market where larger equipment is more desirable. But worldwide, the MPC Live is already powerful enough that it seems it’ll be the winner.

Who should be a little nervous? All the competition, clearly.

It’s hard not to feel Native Instruments have missed a major opportunity here. I can’t imagine anyone buying the flagship Maschine Studio when it lacks so much connectivity, let alone the need for tethering to a computer, especially with a standalone MPC Live hitting this price point. And ironically, while NI have through their history pioneered the use of native software, they could have taken that same native software and made it run standalone. They certainly could have shipped a Maschine that looked like this – and I would have been one of the first to buy it. But even as a devoted Maschine fan, I’m going to wonder about whether I really want to play live with a laptop when I could ditch it for an MPC with similar capabilities. The same is true of the Traktor line – there really is some truth to the resistance to DJs showing up with computers.

(Of course, that said, it’s a shame the new MPCs don’t support Ableton Link – at least not that I can see.)

Pioneer have their own market niche because their Toraiz sampler has sync capabilities with the CDJ. But since DJ/producers often differentiate between live acts and DJ sets, I expect a lot will choose to do a live set with an MPC and just use CDJs when DJing. That’s already the case with the Elektron machines you see so often in live sets.

Elektron probably have the least concern. Their user base is pretty loyal, and the Analog line sounds absolutely terrific. But even some would-be Elektron customers may decide a sample-based workflow and more DAW-style flexibility is desirable – without all the menu diving.

Even Ableton ought to have a look at this and wonder if the Push is going to stay as desirable as a performance solution.

Don’t get me wrong – there are still advantages to computer software. When it comes to more complex arrangements, I’m all about a big screen. And past leaks suggest the new Akai hardware won’t support plug-ins. So these machines for many producers will be about live performance. Then again, there’s nothing stopping you from using the MPCs with a computer for those contexts. The category this will clearly damage is the computer-plus-machine area — meaning things like Push and Maschine look less desirable.

I’ll definitely be keen to test this. It’s still down to software – despite the embedded context, that’s what you’re testing. And I’m curious to see how you would integrate this with studio workflows on the computer.

But long before NAMM, it seems we have the big NAMM story for producers.

Just remember – drum machines have no soul. 😉

The post Akai’s standalone MPCs just leaked – and they could replace your laptop appeared first on CDM Create Digital Music.

Leaks hint at new standalone Akai MPCs coming this year

Now that software increasingly comes with hardware, why not have it also run standalone? That has seemed inevitable for some time. Yet, for years, MPC fans have been without a standalone hardware option from Akai. Pioneer, Elektron, and others will sell you drum machine hardware that runs on its own, but not Akai. That seems set to change.

Now, multiple leaks from employees of dealers selling Akai hardware suggest standalone hardware is imminent. (Dealers have increasingly become a weak point in keeping upcoming hardware confidential – recent Roland announcements have demonstrated.) You might not even have to wait for January’s NAMM show, as sources say some of the gear is coming later this year.

Leaks report two new pieces of gear, MPC Live and MPC Eclipse.

This also appears to finally be the payoff for something Akai had said they were working on years ago. Akai publicly presented their cooperation with Microsoft on shipping embedded Windows-based machines. That’s mainly a development change; there seems to be no indication you’ll be able to substitute your own software. But it could mean more rapid development, and crucially, a seamless transition between desktop and standalone function.

Sure enough, leaked manuals suggest you’ll be able to use these boxes both in standalone and controller modes. That seems ideal. When you’re in the studio or working on a production with a computer, you’ll be able to use all your software arsenal for effects, mixing, arrangement, and mastering. But if you want to go live and ditch the computer, you can do that, too. Running on embedded Windows ought to then both cut development costs and make standalone and computer modes possible on a single product.

The obvious next question is, why haven’t Native Instruments done this with Maschine, Traktor, and other products? After all, NI was one of the first major developers to foresee the coming software revolution as being more convenient and more economical. I was just listening to founder Stephen Schmitt talk about how that came about. I wonder if a second revolution with hybrid hardware is about to happen – and if the company will miss the boat.

Leaked sources suggest a flagship at the $2000 price point, but a new version of what was the MPC Touch at just US$899. If that’s just a revised MPC Touch, it’s not news, but if these sources are to be believed, you’ll get standalone operation on that, too. And that’s a game changer, given that there’s currently nothing with computer-style workflows under a grand.

Meanwhile, also suggesting they’re trying to get rid of inventory of the original MPC Touch, Akai has slashed its prices to US$599, adding credence to the possibility you’ll get something soon.

You can read the full thread on German forum sequencer.de, with a somewhat astonishing amount of leaks coming from multiple sources. (Mixture of German and English. Some of this information is older, as it came from the original Microsoft announcement.)

Neue MPCs kommen (alles) [sequencer.de]

Anyway, I will now likely shut up as Akai have told me nothing (the only reason I can write this article), and hopefully bring you more information once it’s actually intentionally public.

The post Leaks hint at new standalone Akai MPCs coming this year appeared first on CDM Create Digital Music.