March 22, 2012 § Leave a comment
Teenage Engineering uploaded a nice gift for their user base yesterday with the release of a new operating system (OS#12616) that you can download from TE’s website. Below are some features that have been added/fixed:
– Tape import from external material now possible.
– Added MIDI Start and Stop.
– Added Finger key copy.
– Sequencers now respond to external MIDI notes.
– Battery indicator improved.
– Added MIDI indicators in the signal flow screen.
– Added Hi Res rec level control in tape screen with shift.
– Drum Sampler snapshot saving did not always function correctly. Fixed.
– What you hear downmix was not done correctly. Fixed.
– Ghost jumps backwards could sometime result in a gap in playback. Fixed.
– LFO did not update all graphics correctly. Fixed.
March 22, 2012 § 1 Comment
The Korg Monotribe was 2011’s geek toy to have, an analog monophonic synth that squeals like a 303 with classic Korg MS-20 filters. It’s a fantastic machine and for $230 it’s one of the least expensive ways to get into subtractive synthesis.A recent update for the Monotribe brings new functionality and improved sequencing to the device and Korg have recently announced a Mono Mania contest where you can win a 24-karat gold-plated Korg Monotribe (fresh!) But.. (and it’s a big but) the one drawback to this device is that is does not have MIDI capability built-in. This seems to have been a calculated choice as Korg seem to have built this device with modification in mind.
Part of the reason for the Monotribe’s popularity is the open-source attitude that Korg seems to have taken with this product. While opening the device will void your warranty, Korg have included notes on the inside of this product that actually illustrate solder points to MOD your Monotribe for further functionality. Now most of us (myself included) don’t own a soldering iron and haven’t the slightest idea of how to start tinkering with the electronic side of this device. But that’s where Amazing Machines comes in. This Brazilian company is offering a plug-and-play solution to MIDI for the Monotribe for $88US. Check out their site for more info and for a full breakdown of the process involved, Sonic Lab (below) has a nice video that shows what you’ll need to do to install this mod. Positively brilliant. Can’t wait to get our hands on one.
March 21, 2012 § Leave a comment
This is a documentary celebrating the 25 year anniversary of the Roland TR909. In this documentary, narrated by Robbie Ryan, we traverse the history of the programmable drum machine from the CR78, TR808, TB303, TR909, and LinnDrum, with audio examples of each.
March 21, 2012 § Leave a comment
In SYNTH and DRUM modes you can press SHIFT + T4 to access the LFO section. Here is a quick demonstration on how to use it. Enjoy!
March 20, 2012 § Leave a comment
Numark iDJ Live
Last week I became slightly obsessed with finding a DJ control surface for the iPad. There was a possibility of hotel party on the weekend and I didn’t want to bring a computer or DJ rig.. but I really wanted to bring some music. The iPad itself is not an ideal dj interface; the lack of tactile control ruins the fun for me. Now you’d imagine that within the prolific world of DJ applications there might be more hardware controllers on the market for iPad use. But most developers have focused on the application side of the experience rather than the hardware.. and there’s really not much out there besides this piece of hardware designed by Numark that works with Algoriddm’s popular Djay iOS application. So I gave it a shot.. what the heck, right? Sam Ash has a 30 day return policy. But you know what? After a week of playing with this thing, I don’t think it’s going back.
Now I feel the best way to approach this mini-review is in Top-Gear style (if you’ve never seen Top Gear, they have what I’d call a reverse complement-sandwich approach) where I’ll begin with where this device falls short and why you’d never want to use it for a pro gig. I really didn’t think that I would like this device for the sake of it’s DJ-Hero style design and immediately upon opening the box I realized this interface lacked many features that I take for granted in other dj setups.
The initial groans happened when I realized that the headphone / monitor functionality of this program/device happens via a simple 1/8th inch stereo to mono splitter cable. This means you must run a mono output if you want to use monitor headphones. In addition there’s no headphone volume on the iDJ Live (a splitter cable gives you the headphone output). After playing around with the output options on different stereos I concluded that I could not deal with the sound of this split/mono signal. Some modern house tracks seemed to phase into the abyss without the stereo field. The next issue I found was that the EQ works fairly well but there’s no mid-band EQ, only Hi and Low (mid exists in the Djay app but not on the interface). The third thing I realized about iDj Live was – no pitch faders. The pitch faders do exist within the Djay application but they are therefore on your iPad – not the place where I want to find them. Upon realizing this I thought – well the sync better work.
And here comes the good news. The Djay application is actually a well-designed app that has been finessed to give you the feel of working with vinyl. The BPM detection and sync functionality are actually really good. Djay misread the tempo on a few of my tracks but for the most part it could detect and match the BPM of most house tracks I ran through it along with some dub, bass, techno and electro. Now an interesting thing about the sync feature is that it doesn’t seem to work the same way that Traktor does with Beat Grids. It does detect a Beat Grid, and to some extent it reads the timing / phrase. But it’s not always accurate. Strangely, this is part of why I started to like this device.
While Djay offers a beat-matching functionality, it’s not perfect and therefore you have to pay attention to the mix and adjust things as you go. With Djay and the iDJ Live I found I had JUST ENOUGH control over the mix that I could keep it running for a good three or four minutes. There are four buttons (two for each deck) at the top of iDJ Live and I found that a quick press in either direction could nudge a track back into the mix fairly easily. The platters on the device are actually a lot of fun in Scratch Mode, but be sure to switch modes when you’re using the EQ because a small bump can skip your record. I can forgive this because the scratch function is tactile and accurate. I found that I could drop a beat into a mix by hand and quickly get things in sync with minor adjustments.
As a DJ who came up on 1200s and CDJs, I like beat matching. I believe this love has a lot to do with the meditative side of the DJ experience. It also provides the gratification of training your ears and timing. When I am IN the mix I find more spontaneity in my mixing and choice of music. When I’ve used Traktor I find that my mixing is often very structured and when the Sync button is depressed I get incredibly bored with the DJ experience. With the iDj Live and Djay app, two things happened that made me enjoy the experience. First, I had to ride the mix a bit (even with sync being used) and the control experience of the platters reminded me of turntables. Second, I got away from my computer. I spend far too much time in front of a computer monitor and I’m eager to get away at any chance. The iPad is not exactly getting away from the computer but it’s different enough (and small enough) to make it feel like a different experience. Add to this the tactile control for scrolling through your music library with the Numark hardware, and it just feels better than a laptop.
One benefit of using the iPad as your music source is that you must decide what to put on it. By limiting my music selection to whatever fits on the iPad there is a back-to-roots sort of thing happening. It used to be that you had to fit ALL your music into one or two bags for a performance and you’d practice with those tracks. Today there is endless possibility for selection when you have a 3TB hard drive and I find that a lot of DJs don’t take time to create a flow with their mixes. I’ve always felt that art is best created with limits, and DJing is no exception. I’ve recently found a nice workflow of dumping all my new tracks onto the iPad and then later using the iPad and iDJ to sift through the music and find mixes. For some reason the experience is much more gratifying than dropping tracks into Ableton or Traktor. Being away from the computer allows me to listen differently and I can discern which tracks need to stay in the collection and which can go.
Currently iDj Live sits on a small shelf in my living room with the iPad plugged into a small Bose portable speaker. It sounds nice when the levels are set at 50% – just loud enough to rock out but soft enough to not bother the neighbors. I don’t use the splitter cable nor do I use headphones for mixing with this unit. I find that the waveform display allows me to cue up a track visually while using the platters and the bpm sync is usually close enough to drop the track in and use the + and – buttons to get things running in sync. The EQ is not extensive but if I find tracks that work together in this sort of setup they are guaranteed to work together in a pro format. And that’s part of the point of all of this. When I play professional gigs I’ll most likely use 1200s, CDJs, and possibly Serato/Traktor. But I don’t have room for a massive digital DJ setup in my house (and I’d rather spend that money on synths these days). I’ve been looking for a solution to this dilema and for $80, the iDJ Live seems to be working fairly well. It’s small, light, easy to use and a lot of fun to have sitting around for spontaneous mix sessions. I look forward to future updates of Djay as well. Algoriddm seems to be doing great things with this program.
Ps, Did I mention that my 14 month old LOVES it?
March 20, 2012 § Leave a comment
[Press Release] Deniz Kurtel Crosses America for ‘Double Exposure’ Tour. Visual Artist and Producer Will Unveil Her New LED Installation ‘The Introspectacular’ While Previewing Tracks From Her Forthcoming Album “The Way We Live” (Wolf + Lamb)
Last year Deniz Kurtel burst into the popular consciousness with her debut album “Music Watching Over Me” on trendsetting label Crosstown Rebels, earning critical praise for her totally fresh take on house music, and bewitching live audio visual club shows. 2012 will see her once again captivating audiences with her musical productions and visual art, as her April road tour, ‘Double Exposure’ takes her across the US.
A two pronged tour, ‘Double Exposure’ will see Deniz will unveil her new LED sculpture ‘The Introspectacular’ while premiering her album ‘The Way We Live’ at 15 club shows in 12 cities around the country including Miami, Washington DC, New York, Detroit, Chicago, San Francisco and Los Angeles. The tour kicks off in Washington DC on April 7 and concludes in San Francisco on April 29. ‘The Way We Live’ will be released on Wolf + Lamb June 4th, 2012.
“Double Exposure” is the second time Kurtel has paired a piece of LED art directly with her music, but marks the first time where the audience will be able to affect the experience. ‘The Introspectacular’, like much of Kurtel’s LED work, establishes an isolated space where the infinite reflections and layers of depth, achieved through her use of mirrors and LEDs, create a stimulus for inner-reflection and introspection. Housed in a 6×12 enclosed trailer, participants can control some of the LED lights via the keys of a midi controller, which simultaneously produces sounds, creating a visual mapping of what the participant is hearing and vice-versa.
“With the ability to generate a sound and a light with the same key, I wanted to facilitate a deeper connection with the basic senses of the participants while also engaging their sense of creativity,” said Kurtel of The Introspectacular.
Kurtel will drive across America towing ‘The Introspectacular”. The piece will be exhibited in twelve cities she visits on her journey, outside galleries and public spaces. Kurtel will also be playing live club shows in each of the cities, where she will debut music from her new album ‘The Way We Live’, which will be released on Wolf + Lamb in May. The LED piece will also be exhibited outside these music venues.
When discussing her debut album Kurtel noted that she wanted to “constantly grow and evolve, and make music that excites [her], hoping it excites others too.” It’s clear that on ‘The Way We Live’ she has followed through on that philosophy. A collaborative album, she is joined on every track a selection of the Marcy All Stars, including Soul Clap, Wolf + Lamb, Tanner Ross, Thugfucker, Pillow Talk, Voices of Black and more.
Her sophomore LP builds on the soulful mystical house of her debut, taking audiences on a narrative journey through the slower tempo spectrum of electronic music. From the hip-hop front and pacing of The Way We Live and Right On, to the haunting vocal strains of Art Department’s Kenny Glasgow on ‘Don’t Wanna Be’ to the Prince like funk of ‘Thunder Clap’, Kurtel keeps her listeners guessing, and most definitely excited.
Tracklist for ‘The Way We Live’
1. I KNEW THIS WOULD HAPPEN with Tanner Ross feat. PillowTalk
2. YOU KNOW IT’S TRUE with Gadi Mizrahi
3. LOVE TRIANGLE (Instrumental) with Wolf + Lamb
4. THE WAY WE LIVE with Gadi Mizrahi
5. HYPOCRITE with Gadi Mizrahi
6. RIGHT ON with Gadi Mizrahi feat. Michael Franti
7. DON’T WANNA BE with Kenny Glasgow
8. SAFE WORD with Soul Clap feat. Navid Izadi
9. WAKE ME UP with PillowTalk & Thugfucker
10. BLACKNESS with PillowTalk & Thugfucker
11. THUNDER CLAP with Voices of Black
12. THE BEAT DROPS with Tanner Ross feat. Jules Born
Double Exposure US tour dates:
March 22 @ W+L Showcase, Electric Pickle, Miami
March 23 @ Bohemian Yacht Club, Miami
March 25 @ Ultra Festival, Miami
April 7 – Washington DC, venue TBA
April 8 – Philadelphia – PTY Backroom
April 14 – Marcy Hotel, New York
April 18 – Boston
April 20 – Detroit – The Works
April 21 – Chicago – Smart Bar
April 25 – Communikey Festival – Boulder, Colorado
April 27 – San Diego – Analog Bar
April 28 – Los Angeles, venue TBA
April 29 – San Francisco, venue TBA