FS FreezeVerb isn’t your ordinary reverb app, it has a couple of features you need to check out

Bang Means Do it software have brought us another FX app to add to their portfolio. FS FreezeVerb is a lush sounding stereo reverb, useful for both subtle ambience and cavernous reverberation. The app features a clear and simple design, FS FreezeVerb aims to make it easy for users to dial in their ideal reverb settings – complete with a visualisation of the virtual room, which is one of the most interesting features from my perspective.

The Dampen function lets users vary the damping within their virtual room – lower settings mean less damping, making the room’s walls more reflective.

The other feature that has really caught my attention is the Freeze Mode. When this mode is turned on, the reverb signal at that particular moment is ‘frozen’ and continues indefinitely, which sounds like something that could be used in some really creative ways.

FS FreezeVerb can be used as standalone application or can be used as an Audio Unit.

Main Features:

  • Stereo Width control
  • Room Size slider with room size visualisation
  • Freeze Mode
  • Dampen control to alter the reverb’s tonal characteristic
  • Wet/dry mix control
  • Clean and simple design
  • Runs on both iPad and iPhone
  • Selection of factory presets (when used as an Audio Unit)

FS FreezeVerb costs $3.99 on the app store:

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Sounds.com is a new cloud tool for loops and samples from NI

Sounds.com is a subscription-based loop and sample site – but it’s also a glimpse into Native Instruments’ future strategy for digital services for musicians.

Today, NI are revealing Sounds.com – a product in 2018 that sounds like someone registered a domain in 1996. That domain name pretty much covers it: it’s a place to go get sounds, in the form of loops and samples. It’s only available as a beta in the United States now, but will roll out to the rest of the world over the course of this year.

You can check out the beta now. I’ve had the chance to talk to Matthew Adell (NI’s new digital services chief) and Sunny Lee (Product Owner) about the product, and poked around the beta and sounds a bit in advance. Here’s a sense of what this might mean as a product itself, but also some of the potential to sound designers and future NI products – if the service and its underlying infrastructure are fully exploited.

What’s the pitch for Sounds.com?

There are, of course, a lot of purveyors of loops and sound content. But what NI’s tool here promises is a deeper, broader catalog of sounds from multiple sources, combined with better tools for searching them.

You won’t see much of Native Instruments’ name on the site, and even their own products are in the background. So Maschine Expansions are there, if that’s your thing – but NI is just one of 200 providers. The Loop Loft, MVP, and Symphonic Distribution sit alongside lots of smaller shops. NI also says they’ve got a lot of exclusive content, and are launching with half a million sounds.

You can navigate by genre, covering not just dance genres, but things like “cinematic,” too. You’ll see bundled releases, but also individual sounds.

That could broaden the appeal here. Maybe you don’t want some massive set of Deep House or EDM loops. Fine – search for a single perfect clap one-shot. Maybe you want to explore some weird Reaktor-produced noises made by Applewhite on left-field label Detroit Underground. Or you’re on a tight TV or film scoring deadline and want to grab some unique sounding percussion. Or you just want some sounds to mangle quickly.
Because it’s easy to find one-shots, and because there’s tons of sound material that isn’t genre specific, it seems likely that Sounds.com will appeal to some people who haven’t bothered with loop or sample content before.

Native Instruments have talked a lot lately about reaching more customers. Here, they offer a fair amount of tools in a completely free, unpaid tier. You don’t even need an account to start poking around and previewing. But a free account nets you some selected free downloads.
US$9.99 a month gets you an all-you-can-eat diet of unlimited downloads of whatever you want. (This is the US-specific one for now; the free tier already works worldwide.) Even if you cancel and re-up, those downloads reappear… just in case you have a habit of not backing up and dropping beers on your hard drives.

There’s an underlying technical competency story here, though. In addition to investing over the past year in the cloud and products team, NI has been quietly over time developing in-house expertise in what’s called Music Information Retrieval. Basically, that’s the somewhat arcane research field of developing algorithms that identify sounds and metadata more clearly. This stuff has been bouncing around Europe for years, but it tends to involve stuffy academic contexts and music industry.

The twist here is, some of that “MIR” business can turn out to be, well, fun and useful to you and me. NI tells CDM these algorithms are sharp enough to analyze the difference between a closed and an open high hat. With a bunch of other built-in intelligence about metadata and tagging and the like, this could mean you actually find the sounds you want. We’ll need some time to test that, and because an online service like this both develop over time and can learn from additional data, it’s something that may well evolve.

But yeah, instead of training Facebook how to serve you ads, you might soon instead be training Native Instruments how to identify and find sounds. (It’s fitting we’re exploring machine learning as a topic this year with our hacklab for CTM Festival Berlin.)

And honing in on individual sounds is part of the mission. Thanks to better search tools, you’ll quickly find you can even ignore genre classification and search however you want – including key, BPM, and other sonic characteristics. There are also tools for grouping by artist/producer and label. (Some of those appear to be set to develop over time.)

With its direct access to one-shots and more left-field options, plus a visual waveform preview and lots of metadata, Sounds.com resembles nothing if not long-running platform https://freesound.org/ – more than something like the Beatport Sounds section. (As far as content, I can’t imagine freesound stacking up to this any more than I can imagine Sounds.com replacing freesound. Case in point: as I write this, freesound has as its sound of the day “procesión de la borriquita” –the procession of the donkey – from the first week of Easter in Tarifa, Spain. Still, the interface and some of the appeal do overlap.)

Lots of familiar sound design houses and artists are there – here’s the legendary Hank Shocklee, who’s been a continuous inspiration in technology for us.

Sounds.com is quick and easy enough that I imagine this could be a huge amount of fun. I’m not a huge fan of soundware, and even I started thinking of how to use this. Hello, Maschine Audio device.

What does this mean for sound creators?

Native Instruments, particularly through their flagship sampler KONTAKT and more recently their NKS format, have always been a platform and reseller for independent sound designers. Now, they actually have a working online platform to do that. NI are promising creators a fluid means to upload and manage their content, as well as a potential commercial opportunity.

The subscription model I imagine could also be disruptive if your business model was based on the à la carte release approach, but we’ll also have to see if these two models reach different customers (and accordingly supply different kinds of content). Consuming sound content for production also isn’t quite the same as consuming albums for listening, even if the buy/subscribe model here is a parallel.

Also, NI say their longer range plan is to provide an open API, also suggesting new developer integrations in music products not made by NI – first to select partners later this year, and then more broadly as they collect user and developer feedback.

What’s the bigger picture at Native Instruments?

Sounds.com has developed over the past year under the leadership of NI’s new “Chief Digital Officer,” Matthew Adell. Adell has experience at Napster and Amazon – and at Beatport. During his tenure, Beatport launched their Sounds section, which then saw explosive growth.

Now, the important thing here is, yes, there’s the specific product Sounds.com – but there’s also the team that built it and the plumbing they created to make it work. Adell confirmed to CDM that this is just a beginning.

More left-field and independent creations show up here, too. Here’s Detroit Underground with Marshall Applewhite. That’s an important story, as well, as it means this service is about NI’s ecosystem of sound creators, not just the sounds from NI themselves (though those are there, of course).

In addition to releases, you can find sounds individually, by collection, or here – again with label Detroit Underground – by provider. There’s no navigation to find them directly apart from search yet.

It’s a no-brainer that we’ll see Sounds.com integration in NI products in some form. But NI says their new, integrated digital services team can make these kinds of tools available across the whole NI product range – and even possibly on future hardware. Sounds.com represents the first product built atop a new cloud platform. (They’re using React JavaScript library on the front end, among other things, in case you’re interested.)

I hope that’s the case, because it could make the experience of using NI software significantly better.

Let’s back up and consider the user. We’re already essentially using NI as an online service provider, it’s just that they don’t behave much like one.

You’re a producer, and you’re using Maschine and Komplete. Right now, not even all upgrades and sound content are available in Native Update. Buying and upgrading is … well, complicated. And then storing and accessing your own sounds is often a chore.

Could this MIR stuff help you find and tag your own sounds and snapshots? Well, heck yes – especially because my guess is you’re even less likely to be organized about tagging and organizing your own files. (I’ve seen musicians’ hard drives. A lot of you are … let’s say right brain dominant. “Messy as #$*&” also fits.)

Cue points in Traktor that show up everywhere? Well, now there’s plumbing to make that happen (this appeared briefly in an iPad app, then disappeared right as we said we liked it).

Synchronized Reaktor Blocks ensembles and snapshots? Why not? (The free VCV Rack is already working on that.)

I’d love to use sophisticated sync and MIR technologies to locate and share my sounds and parameters. But it remains to be seen whether this modern approach from the online team in Los Angeles will be able to wrangle the complex web of different products and code that a lot of us use in Komplete and the like.

Sounds.com is recipient of some of the recent funding NI acquired, but its gestation started before that funding, NI say – so we’ll see how this unfolds later this year. Pro software and especially hardware products have much longer development cycles, so expect some of these fruits to appear later.

In the meanwhile, this is an encouraging step – and you’ve got some sounds to play with.

http://sounds.com [public beta; login available only from the USA but preview features available to all]

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Arturia’s new easy, affordable modular cases also mount to MiniBrute 2

The beauty of Eurorack is its modularity. The problem is, that means your first investment has to be a case. Arturia’s RackBrute might be your solution.

It’s portable. It’s not hugely expensive – this is at last a mass market offering. And it seems full of eminently practical features – including, if you want, the ability to attach this to Arturia’s new MiniBrute 2 and 2S.

For those of you just joining us, Arturia have been teasing out three related products over the course of as may days. So on Monday, the news was the MiniBrute 2, a reboot of their signature monosynth with modularity added via a dense patch bay wedged in the upper-right hand corner of the hardware. Day two: maybe you want that same MiniBrute 2 without the keyboard, but with pads and a more extensive sequencer.

In case you didn’t catch some leaked photos or spot some funny looking pixels on either side of the keyboard, now part three turns out to be a set of Eurorack cases. And yes, that mysterious mention of “Arturia Link” is in fact the ability to attach the RackBrute to the MiniBrute 2/2S, so you have a handy complement of modules right above your synth (and can connect cables easily between the rack and the instrument).

This being modular, you get a choice of two sizes. For those of you new to this, both are the width of the MiniBrute 2 – so roughly the width of a 2t-key keyboard – and one is one row, while one is two rows.

To get more specific (hey, I was never the best with, like, quantities and scale):

3U / 88HP / 20 modules – $/EUR 249
6U / 176HP / 32 modules – $/EUR 279

Shipping in March.

Yeah, anyone who’s priced these out probably doesn’t have to read far beyond those costs. Sure, if you’re splurging on some beautiful handcrafted wood, maybe you want to spend more. But if you just need a way to solve where do I put my modules, this is a godsend – and just as Arturia solved the step sequencer problem for loads of musicians with BeatStep, so too it may have just solved the case problem for people curious to dip their toes in modular.

More features:
+12V / -12V / +5V power onboard
(Power supply with 1600mA +12V output, 1600mA -12V output and 900mA +5V output. 5HP width)
Comes with a carry handle – a bit like rollaway luggage
Spacers to protect your gear from collision
Arturia Link gives you lockable attachments of all this range of gear
Anti slip strips
Screw holes for attaching gear – and note they did include rails on there

Arturia Link is this elegantly designed widget that attaches the new MiniBrute and RackBrute hardware in various combinations – and doubles as a stand, and a carry handle.

The onboard power unit has dedicated dual circuitry set up for covering a range of gear.

Speaking of luggage, there’s a soft RackBrute Travel Bag (for scratch / splash / dust protection they say – note this isn’t a hard flight case, though, so I’d be a little nervous about it in an overhead locker on an airplane)

This, a toothbrush, and a deodorant might be all you need.

More info:

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Source: http://cdm.link

Arturia’s MicroBrute 2S with step sequencer, not keys, might be your pick

Now we know the whole story: Arturia’s new synths come with a choice of keys or pads+more step sequencing – and there’s are companion RackBrute cases.

So, if you like the ‘Brute synths, now you can choose.

Prefer a keyboard? The MicroBrute 2 (without the letter ‘s’) now has 25 full-sized keys. And it’s got the new patch bay for modular routing, plus a competent step sequencer and arpeggiator.

But prefer pads to a keyboard, or want deeper step sequencing? That’s the MicroBrute 2S.

To either, you can then add two cases for expanding with modular, making the MicroBrute the center of a patchable sound workstation. That’s what “Arturia Link” is – not some proprietary new sync format or something like that, but actually a physical connector attaching the accessories. (It’s a fancy name for some fancy holes, basically!)

Let’s talk about the 2S, because it’s already upstaging the MicroBrute 2 for some people. Little surprise: a lot of people aren’t keyboardists, people who are keyboardists generally already own keyboards, and most importantly, Arturia’s BeatStep line of sequencers were already beloved. Cross-breed that step sequencing goodness with the MicroBrute, and we may have a winner.

The pads on there reduce the overall footprint, and provide velocity and continuous pressure sensitivity.

The step sequencer is three parts – so, since this is a monosynth, that means in addition to making on layer for your melodies, you have two additional layers for automating parameters.

Here’s a breakdown of how it works:

1. Melody:
Sequence pitch, gate, and velocity – as per usual, and as on the BeatStep Pro – with ratcheting on gates if you so choose.

You can also set per-step glide.

2. Modulation:

There’s both a Mod 1 and Mod 2 tracks for adding layers of … other goodness.

So, Arturia tells CDM, you can use that track to generate envelopes and LFOs. Or you can make another Pitch track. Or a Gate track. Or an unquantized track of control voltages.

And naturally, this also is then patchable from the patch bay … or you can use this as a sequencer for external gear (including if you mount one of their new racks for your own modules).

The 2S combined with RackBrute, for a complete little modular setup.

It’s all very cool, indeed. Of course, you can still put a BeatStep Pro alongside a modular if you don’t care much for the MicroBrute synth. And indeed, I’ve noticed that Arturia piece glowing alongside modulars in many, many techno and experimental live acts lately – nice to see this inexpensive piece of gear next to racks of thousands of Euros/dollars worth of kit.

But this is also a powerful synthesizer meeting a powerful sequencer in one piece of gear, even without adding anything else. And if you do like the ‘Brute sound, then you get the usual edgy metallic timbres and filters, aggressive and wild knobs and modulation, and now the ability to expand your possibilities by patching. Having the sequencer built-in makes sequencing modulation and per-step settings easier, beyond just melodies – and you don’t have to pack an extra sequencer and cable.

So I suspect the MicroBrute 2S is going to find a lot of homes, whether it’s as a gateway to modular as Arturia are pushing, or as an equally strong choice for standing on its own or with other desktop gear.

Keyboardists will no doubt still like the arpeggiator and 101-style step sequencer of the MicroBrute 2, but the 2S stands out for programming patterns. Tough choice for those of us who do both – but Arturia’s done a nice job of focusing on what musicians want this round and gotten our gear year off to a rollicking start.

Pricing is $649 / EURO 649. Also shipping in February.


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UAD for everybody: Arrow sound box is Thunderbolt, PC or Mac, $499

Universal Audio just brought their DSP platform – and top-notch audio interface tech – to a box that’s Thunderbolt, bus-powered, and under US$500.

Here’s the thing: if someone asks you the age-old question “which audio interface should I buy,” it’s actually pretty hard not to mention Universal Audio. While the company may have gotten started selling pricey high-end DSP cards for their platform of vintage gear emulations and sound tools, starting with Apollo, they also happened to make one of the best audio interfaces. The Apollo line boasts high-end converters and audio circuitry and rock-solid performance. And it’s been steadily reaching more and more people, with the smaller Twin bringing the price down, and Windows support following Mac.

The Apollo Twin is good enough, in fact, that you can almost recommend it just for its audio interface capabilities – not only as a gateway into the catalog of UAD studio effects and sound processors and the like.

But the Apollo Twin still represents some outlay of cash. And it’s portable, but not quite throw-it-in-a-laptop portable – especially once you figure in that power brick.

So, the Arrow starts to look really smart as an entry level device. Its estimated street is just US$499. It’s still 2×4 like the Apollo Twin – so you can have a separate monitor mix. And there are two mic preamps.

But it’s sleeker, prettier, more portable, and it runs on bus powered Thunderbolt 3 on both Mac and Windows. (Gone are the days of interface companies catering just to Apple – the press kit even came with shots both of a MacBook Pro and a Razer Blade, my respective favorite high-end Mac and Windows choices.)

Now, if you were just spending $500 on an interface alone, this might still not make sense. So then you have the value-add of the UAD DSP platform. While native processing is powerful these days – running VST and AU plug-ins and the like – it still means contending with some latency. So, you have to listen to the dry signal of your instrument or voice while you’re recording, and then add compressors and reverb and pitch correction and whatever else afterwards.

UA’s ongoing argument is that they can deliver their signal processors with near-zero latency, thanks to their onboard DSP (the “UAD SOLO” is what they call it). The mic preamps feature Unison technology, which models gain structure on the hardware for more accurate emulation of studio tools. And you can take your vocals and guitars and synths and keyboards and everything else and add their library of effects as if you’ve got the actual gear there, without hearing a delay as you track.

Those plug-ins don’t all come cheap, once you buy a lot of them. But the Arrow has newcomers to UAD in mind, bundling a full 14 full-featured “Realtime Analog Classics” in the box.

Ah, remember the days of expensive hourly studio time? Meet the bundled analog gear – software UAD form.

Really, the only catch is that the Arrow has just one UAD SOLO processor. That means you can’t layer on a whole lot of those UAD effects at once – you’re limited by available processing power. I like the form factor of the Arrow enough that I hope UA will offer a DUO version with two DSP cores – my experience has been that on the Apollo Duo that’s more than enough horsepower for solo musician/producer needs. The single core, though, I suspect will feel a bit cramped for UAD addicts. Oh, and one other niggle – that extra x2 out is only on the stereo headphone jack, though – it’s missing the Twin’s separate rear channel jacks, useful for spatialization or other external outputs.

As a live device, though, and as an entry point to UAD, this one looks like a winner. UA keep iterating on their accessibility, and this one is sure to be a big breakthrough. That real-time functionality and library of plug-ins also makes it more fun to buy than competing audio interfaces, which only act as, you know, audio interfaces.

Arrow is shipping now. I’ll try to get one in to review.


and about those plug-ins:

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KQ Dixie could be the closest you’ll get to a DX7 on your iOS device

Ryouta Kira, the developer behind KQ MiniSynth has now brought us his latest creation, KQ Dixie, probably the closest you’re going to get to having a DX7 in your iOS device. Early indications are that it’s pretty good.For a start it’s a universal app, which is always a big tick in my book, and, the app even acts as a controller for the real thing if you have one.

Here’s the app developer’s description:

KQ Dixie is a 6-Operator FM synthesizer that is modeled on the synthesizer which appeared on the 1980s. FM synthesizers make sounds with Frequency Modulation. FM brings rich and brilliant sounds which are impossible to create with analog one. It makes very complex waves with simple modulations. The same method is used for a radio. The synthesizer gained much popularity in the 1980s.

This app lets you make sounds freely with 156 voice parameters. Almost all parameters are compatible with DX7.

  • Audio Unit v3 compatible.
  • Audiobus compatible.
  • 32 algorithms included.
  • You can manage the hardware DX7 when it is connected with external MIDI cables.
  • Supports DX7 System Exclusive Messages (SysEx) and syx files.
  • Supports Zip files.
  • You may be able to find a lot of patches on the internet.

The developer also points out:

“Yamaha DX7 is a trademark of Yamaha Corporation. I have no business relations with Yamaha.”

Which is good to know.

KQ Dixie is on the app store now and costs $3.99:

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Gunn-Truscinski Duo: January 9, 2018 Union Pool

[Photo via @taswaim]

Until the surprise announcement of Bay Head from Gunn-Truscinski Duo last year, it seemed like these guys may never put out another record together. Their last platter, Ocean Parkway, was released back in 2012 and besides a very special gig for the Three Lobed Sweet Sixteen, the pair had been awfully quiet for a long time. Fortunately for us Bay Head picks up right where they left off, proving that when Steve Gunn and John Truscinski get a room together, it’s a rare magic that results. And speaking of rare, the duo aren’t doing many shows together in support of the record, but we were lucky enough to capture this set from Union Pool last week. Old classics “Bahn Mi Ringtones” and “Ocean Parkway” brought back memories of Zebulon gigs past, and the new songs “Sugar,” “Seagulls for Chuck Berry,” and “Gunter” captivated.

If you’re in LA, be sure to grab tickets for their show with Body/Head.

And if you’re in Brooklyn, Union Pool has another free show scheduled for this Tuesday, Jan. 16, with the inimitable Sir Richard Bishop headlining.

I recorded this from our usual spot with MBHOs combined with a board feed courtesy of FOH Doug. The sound is terrific. Enjoy!

Download the complete show: [FLAC/MP3]

Gunn-Truscinski Duo
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineer: Doug) + MBHO MBP603/KA200N > Zoom F8 > 2xWAV (24/48) > Adobe Audition CC (align, mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [44:42]
01. Bahn Mi Ringtones
02. Sugar
03. [tuning and talking]
04. Seagulls for Chuck Berry
05. [raccoons]
06. Ocean Parkway
07. [tuning]
08. Gunter

Steve Gunn: guitar
John Truscinski: drums

Buy Bay Head, Ocean Parkway, and Sand City via Three Lobed

Source: http://www.nyctaper.com

Annual Pre-GDC Meetup on Sunday March 18th

Annual Pre-GDC Meetup on Sunday March 18th

Wait, why is there a company logo at the head of this post?!

For the last few years, we’ve held a community meetup in San Franciso the Sunday of the week of GDC. We’re continuing that tradition this year, but this time we’ve got a sponsor! You may have spotted this on our Facebook or Twitter feeds already, but this year we’re doing something a little special. Thanks to UVI‘s help, we’ve booked out the Vintage Synthesizer Museum in Oakland on March 18th for those of our readers who will be in the San Francisco Bay Area. It’ll be a little more difficult to get to than previous years, but we think it will be well worth it. Because the space is small (it’s really a recording studio packed to the gills with vintage synthesizers), we’ll be asking people to sign up for a 30 minute time slot. So this is us giving you the heads up. We’ll open sign ups closer to the event, as well as provide information on how to get there and where we’ll all be hanging out when we’re not dangerously drooling over awesome gear.

Below you’ll find a list of the units that are currently in residence at the Museum. You can actually find a fair number of them in UVI’s Vintage Vault 2. Please show your appreciation for UVI’s support of our community by checking it out.

Now for that list…

The vintage synth collection includes:

Moog MiniMoog Model D
Moog 1125 Sample and Hold Controller
Moog Taurus I
Moog Micromoog
Moog Etherwave Theremin
EMS Synthi AKS
EMS Vocoder 2000
EMS Fixed Filter Bank
ARP Odyssey MKII
ARP 2600 with 3620 keyboard
ARP Little Brother
ARP 1613 Sequencer
ARP Rhodes Chroma
Sequential Circuits T8
Sequential Circuits Prophet 5
Sequential Circuits Pro-One
Oberheim 4-Voice
Oberheim Xpander
Oberheim OB-Xa
Roland Jupiter 8
Roland Jupiter 6
Roland Jupiter 4
Roland MKS-80 Super Jupiter Rev. 4
Roland Juno 6
Roland Juno 60
Roland Juno 106
Roland SH-5
Roland SH-101
Roland TB-303
Roland RS-505
Roland TR-808
Roland TR-909
Roland TR-606
Roland CR-5000
Univox/Korg Maxikorg
Korg PS-3100
Korg MS-50
Korg MS-20
Korg MS-10
Korg SQ-10
Korg VC-10
Korg Mono/Poly
Steiner-Parker Synthacon
EML Electro-Comp 101
EML Electro-Comp 200
EML Electro-Comp 400/401
Crumar Spirit
Octave Cat MKI
Electric Dream Plant WASP
Gleeman Pentaphonic
Yamaha CS-60
Yamaha CS-70m
Yamaha CS-40m
Oxford OSCar
Paia Proteus
DK Synergy
CMI Fairlight
E-mu Emulator II

Modern synths include:

Buchla Music Easel
STS Serge Animal and TKB
Metasonix Wretch Machine
Knas – The Ekdahl Polygamist

Source: http://ift.tt/ZsssYX

Arturia’s MiniBrute gets a sequel, and now it’s mini modular

Arturia reveals the follow-up to edgy, distinctive little MiniBrute monosynth keyboard. This time, they’ve fit a tiny patch bay to make it semi-modular.

The Arturia synths are portable, affordable, and … weird. And this continues that tradition, with the nicer MatrixBrute keys and a “use every millimeter” patch bay wedged on the side. So now you can use more cables to make things, like, more weird.

The MicroBrute, the MiniBrute’s baby brother, actually had very basic patching capabilities – the “mod matrix” let you route the LFO and envelope (or external signal) to control timbre, pitch, and filter. That made it an easy favorite of the Brute line.

The MiniBrute 2 on the other hand bests both Mini- and MicroBrute with a full blown architecture for patching stuff into other stuff. And let’s be clear that that’s what this is about. Technically, yes “semi-modular architectures” give you more ability to create original sounds blah blah blah …

Translated into simple terms, “plugging wires into jacks for making noises” is what we mean. And of course that can be true if you have just the MiniBrute 2 or if you want to combine it with other analog and modular gear.

So, now you get that, plus full-sized keys with aftertouch (as on the flagship, and completely insane, MatrixBrute). The result could be a real winner: semi-modular architecture plus monosynth plus full-sized keyboard, but still with a low-ish price tag and the usual unique character. So you get patching atop the love-it-or-leave-it wild sound of the original, including the Steiner-Parker filter and that, uh, “Brute” quality – think aggressive, metallic timbres that change wildly as you twist knobs.

And there’s a step sequencer/arpeggiator, building on the existing line, with easy SH-101-like sequencing and lots of performance features. (Actually I know a lot of people who bought these instruments even especially for that sequencer – good stuff.)

London’s trip-hop act The Salvador Darlings do the demo.

Part of me actually loves that Arturia keeps putting out mental stuff that looks like something someone mocked up on a forum, only real. It’s a safe bet what this sounds like given the heritage, but it’ll be fun to test how that patch bay is to use in practice. Stay tuned (and if you’re at the NAMM show, Arturia will show it there).


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Source: http://cdm.link

s e n d u s t . 2

Part 2 of a 2 part series focusing on artists from the Silent Records net-label.

[ambient audio constructions, compositions & treatments interspersed within an agglomerative, interstitial spectrum]
: )

Experimental Ambient/Drone/Glitch – 85:09


01 Yves De Mey – Lichtung
02 Emil Klotzsch – sctl15
03 Chris Russell – Opacity (excerpt)
04 Rag Dun – Standing at the Speed of Light
05 Grey Frequency – Cascade
06 Mike Rooke – Basidium
07 Viridian Sun – Elixer Sonic
08 Steinbruchel – scene 01 (excerpt)
09 Kevin Keller – Anicca
10 Kris Force – Tears of Sybil
11 Tegh – They Were From Somewhere Cold (Pjusk remix)
12 Michael Northam – Cutting Fetters
13 Off the Sky – Wool (excerpt)
14 Khem One Ensemble – Astral Engines
15 Lowell Levine Sims – Coil (w/ outro wash)
16 David Colohan – Landfall at William Creek


Source: http://ift.tt/2kRlH58