modular

The renaissance in modular synthesis has sent a strong message. Open-ended sound design, made by connecting sonic capabilities, can inspire musicians’ imagination.

Now, part of the joy of racks of modular gear is the chance to feel these connections in your hand – plugging cables, turning knobs. But that doesn’t mean that the required hardware is always the most convenient or accessible way to work. Why not have the same sorts of powers in your laptop, too? And why not work in an environment that is itself already modular? And why not choose between using just software or connecting your software to hardware?

If you’ve ever asked those questions, OSCiLLOT might be for you. From the lovely Max development house Max for Cats, OSCiLLOT is a toybox full of useful sound-making modules.

This isn’t a faux hardware modular – think of it more like a toolset of Ableton-ish soundmakers (from drum machines to convolution reverbs to synths) that build on their digital construction – but that you can use in the sorts of ways you might use hardware.

Running software alone has some benefits. You only need a hundred bucks, assuming you’ve got Live Suite (Max for Live is required). You don’t run out of cables. You don’t run out of space.

But this software will also play with hardware if you’ve got it. With compatible audio interfaces, you can route signal in and out of your computer to analog modular hardware, too, taking advantage of all the Eurorack goodness we saw at NAMM. (CDM has a round-up to make sense of all that coming soon, by the way – we figured you already had seen the news, but could use a handy field guide that brings it together.)

There’s a lot in this package:
Oscillators
Filters
Mixers
Modulators
Amplifiers
Sequencers Continue reading »

BomeBox708-035

MIDI is a magical lingua franca between, well, sort of everything. But that’s only if you get it connected. And then once you do have it connected, you might want to tame its messages so they accomplish what you want.

Now, the buzz is wearing off following last week’s avalanche of new music gear announcements. You might realize you don’t have $30,000 for a modular. But then, in the wake of that gear, comes one that flew under the radar – and it’s one of the most powerful-looking bits of kit we’ve seen recently.

For years, Bome’s Midi Translator has been the secret sauce used by drummers and beatboxers and other performers to make their MIDI gear perform amazing tricks. The software’s approach is simple – get messages in, do something to them, send messages out. But by providing an insanely powerful set of rule-based operations on those messages, it has been the one piece of software that solves your needs when others can’t.

And now it’s hardware.

BomeBox708-010

Yes, the Bome Box is a device that loads up MIDI Translator Pro project files and does all these MIDI-mangling tricks without a computer required.

And more than that, it’s hardware that connects MIDI via whatever you want. In and out, of course, low latency, of course. But there’s also a USB host – necessary for all these USB devices that lack MIDI DIN ports. And there are two Ethernet ports, for long-distance network cabling of MIDI.

And there’s WiFi, too.

BomeBox is also the first hardware I’ve seen to advertise itself as HD-ready. No, we’re not talking televisions – we’re talking the next generation of MIDI. The MIDI makers are near to releasing the HD version of their protocol, which will happily make use of the added bandwidth of these connections with higher-resolution data (among other new features – more on that soon).

BomeBox is due in spring. No pricing yet.

I love boxes that solve problems – even if not terribly sexy problems. And BomeBox looks very intriguing, indeed. We’ll have an eye on this box.

http://www.bome.com/products/bomebox

P-6-Front-Angle

Never say never.

Few would have imagined just a few short years ago that essentially all – not most, but all – the major 2015 electronic instrument news out of the annual NAMM trade show would come down to 70s-/early 80s-style analog synthesizers, in the form of keyboards and modular.

Nor would you imagine two of the big names would still be Tom Oberheim and Dave Smith, alongside Korg and Moog. (Well, maybe Tom and Dave did – how ambitious were you three decades ago, gentlemen?)

Certainly, no one ever expected to see the name Sequential Circuits again. But that’s what happened. Oddly, I think to most synth crowds now, the name Dave Smith Instruments is more recognizable than Sequential. But the Sequential name was the one worn by his early synths, including the legendary Prophet, and was part of that historic first-ever MIDI connection. Now, it’s back, courtesy what is described as an unprecedented gesture of good will. It doesn’t appear Dave Smith Instruments is changing its name, but it does mean you can proudly haul that adorably dated typography with you on stage. Everything old is new again.

Now, having gotten that out of the way, the Sequential name isn’t the most important thing about the unveiling of the Prophet 6 synthesizer.

Continue reading »

protoolsfirst

Remember Pro Tools Free?

Years ago, it was then-Digidesign’s ploy to give you the first hit of Pro Tools without paying, in the hopes you’d get hooked and buy the full version. Well, the idea is back, just with a different name. Pro Tools First is a stripped-down version of Pro Tools.

And it’s one of three changes in Pro Tools 12 to how you buy and work with the flagship music production software. Pro Tools 12 is now something you can use for free (with various strings attached). It’s something you can rent, with subscription pricing (in addition to continuing the purchase option). And Pro Tools is connected to Avid Everywhere online offerings intended to help you collaborate and share – with the ability to buy and sell content.

The timing comes as several players in music making software look to new models – as noted earlier this week, Cakewalk is making SONAR available via payment plans as well as providing monthly subscriptions to “membership” in content and updates, and leading cloud collaboration tools (Gobbler and Splice) are serving up solutions for buying or “renting” plug-ins as you work with others.

When Pro Tools 12 arrives further into this year, customers will be able to take advantage of the new pricing model, buy or rent third-party effects and instruments from inside the software, and give new collaboration/marketplace tools a spin. Continue reading »

rachelarmstrong

The music technology industry continues to pump out things with knobs, and things that sound like the 1970s – sometimes, literally so. And we love them for it.

But if you feel dizzy after all this tumbling backwards in time, let us take you on a ride back into the future. It’s the reason we’re in Berlin and not Anaheim this week, and I think you’ll enjoy it. A lot.

CDM joins again with CTM Festival to explore the possibilities for music’s future in an intensive laboratory of creation, featuring speakers, on-the-spot hacking and experimentation, and finally a live performance showcase in which new ideas are tested onstage in front of an audience. I’m thrilled to get to co-curate this year’s edition with Leslie García from Tijuana, Mexico.

The action starts tonight at Kunstquartier Bethanien, with Leslie and Marco Donnarumma playing live in the opening of one of Europe’s most adventurous music festivals, launching the exhibition for this year. Then, next week, we’re hosted by Native Instruments in their office complex with an incredible group of artists, researchers, hackers, and even experts on biology and the human body in six days of hacking and public lectures.

And do we have some interesting people joining us in conversation. Rachel Armstrong has found new solutions to sustainability by literally growing architecture – and looks at music on a microscopic molecular level. See the image at top for the kind of wild world that’s expanding out of the natural universe.

Bio-hacker Thomas Landrain has constructed a no-cost lab for new biological creations in a former squat, dreaming up and building projects like a pen that produces its own ink with built-in bacteria, and will discuss what happens when hacking means biology and not just hard circuit boards. Atau Tanaka, apart from hosting NIME last year and with a resume from IRCAM to Apple, has been at seemingly every twist and turn of notions of working with muscles and brainwaves in music. He’ll help guide us through that history, and where it might lead next. Marco Donnarumma, having made new movement and music performances with muscular sensors, investigates what all of this means for us being a new kind of human.

And we even have a veteran NASA planetary scientist (Kelly Snook) linking Kepler to music making.

The talks are open to the public if you’re in town, but of course we’re doing this for the People of the Internet, so we’ll have recordings of those performances and lecture sessions to share.

My belief is that music technology should be the area that looks forward. We can again be the people folks think to call when aliens are landing. The ones doing crazy things with electricity. The ones who seem to be bringing science fiction into the moment – and then deciding to play a song. Music can animate every discussion of science and technology. So let’s get started.

At top: the living architecture of Rachel Armstrong – don’t miss her e-book on the topic. Below, Leslie García’s live rig, in the quintessential combination of past and future, wires and wildness that is the technology of music performance.

leslierig Continue reading »

free

This week, we’ve done nothing but pummel you with loads of gear you want. So, while you’re saving up thousands … sorry, tens of thousands of dollars for new analog gear from the 1970s, you might not be in the mood to ante up for a compressor or bass line synth.

If you also couldn’t be bothered to carefully scour my article on how the purchasing of software is about to change forever, let me spoil some of the fine print for you:

Collaboration tool Splice just quietly launched the biggest, best-organized database of free plug-ins I’ve ever seen.

Here it is:

https://splice.com/plugins/free_plugins

Now, the fact that it’s on Splice is actually important. That online site of collaborators has also amassed a huge pile of data about what people actually use. So if community members have uploaded a project using these plug-ins, the site knows. That associates projects with the plug-ins, and tells you which you’d actually use. It also means you can use this as a jumping-off point for collaboration – and a source of tools for which neither of you have to pay. (Hello, poor people collaborations, I’m with you!)

It’s not just Big Data working out what matters, though. Splice have also done some serious curating here, so everything is neatly organized and has big, bright screenshots. It seems they’ll also feature especially good stuff. Some downloads require Splice login (but then that also means you get them right away); others whisk you off to the developer’s site.

It’s the biggest, nicest, least-random, no-dead-links, most-actually-useful guide to free plug-ins I’ve ever seen, and I’ve seen a few.

My guess is that this could entice people to the Splice store, too, when they do want to invest in software. In other words, if you’re trying to build a popular store, you might want some free options to help you do it. (And I will say, even though there are lots of free plug-ins that can be a great deal of fun and spark some creativity, I also have no doubt many other plug-ins are worth paying for.)

So, have a look. And please, shout out in comments any good ones you find.

slate

It’s been a long time coming, but the month of January has brought more new ways to pay for music creation software than we’ve seen in a few years.

When you want to share a playlist with a friend, you can count on giving them full-length tracks with Spotify. (Sorry, Taylor Swift fans, but everyone else.) If you’re on a tight deadline to finish a video edit, you can pay a small monthly fee to use Adobe Premiere – and send it to the film composer knowing they can do the same, rather than having to buy it outright for a chunk of change. Not so with music production tools, which rely mostly on big one-time payments (sometimes north of a thousand bucks), often with additional copy protection and dependent hardware.

Just in the past few days, we’ve seen some new ways to solve the problem.

$1000 of Plug-ins – For Twenty Bucks?

The most ambitious comes from Gobbler, the cloud backup, sharing, and collaboration service. Gobbler as of this week are re-launching their platform under the tag “spawn.” (Right now, you get just a sign-up for the service.) Collaboration and shop alike will run on the new platform. Continue reading »