Just because there’s a nice marketing angle doesn’t mean that it has to be the story for you. And that’s been true of NI’s big, splashy product launches. Sure, there’s the epic-looking Traktor Kontrol S8 hardware launched this week – but you tell us you might be just as pleased with a compact controller or an update to the iPad app. And Maschine Studio does wonderful things with its big screens – but the MK2 still has great pads, costs less, and fits in a backpack.
And then there’s Komplete 10. Yes, NI is keen to talk about its light-up series of keyboards, which integrate with the software. But whether you want them or not, what you shouldn’t miss is the superb new Reaktor instruments that come with the bundle.
Rounds is one of the best synths I’ve used recently, full stop. It takes the new analog modeling techniques NI honed elsewhere and launches into new digital domains of effects, modulation, and FM sound generation. Polyplex is simple but good fun as a drum machine (even if it makes me long even more for a better sample loading facility in Reaktor). Kontour is yet another deep synth, capable of rich, mutating timbres and eminently playable. No surprise: it comes from Stephan Schmitt, the NI founder who also gave us Reaktor itself.
Matt Cellitti walks through the trio of new Reaktor instruments in a series of tutorial videos, so it’s a great way to get started. Let’s watch. Continue reading »
The Kontrol S8 is now standards bearer for Native Instruments’ DJ line. It’s such big news, you might hear about it outside the world of DJ tech followers. You’ve likely seen it already – this may be the most-leaked, most-teased DJ product in history. But now that it’s fully revealed, the S8 is almost certain to fan the flames of an ongoing debate:
Just what is digital DJing, anyway?
First, we can at least work out what the S8 is. It’s an audio mixer with control surfaces on both sides. It’s hardware made specifically to sell software (or the other way around, if you like). As NI’s Maschine Studio has done for producers, it uses big, color screens on the hardware to keep your eyes on that controller rather than on your laptop. It has a hardware layout tailored to the functionality of Traktor – deck controls, browsing, Remix Decks. And it builds in an audio interface and 4-channel hardware audio mixer for connecting external gear – CDJs, turntables, synthesizers, whatever. You wouldn’t use the mixer without the computer, but at least it acknowledges you might get audio signal to and from the outside world.
There are two design decisions likely to generate discussion. Firstly, the S8 is big – really big. It’s 58.5 cm — that’s nearly two feet. (It joins various other popular controllers, notably Pioneer’s flagship DDJs, in the same territory.) The 5kg/11lb weight isn’t so bad, but the physical hulk means you need dedicated space in a DJ booth to play it, and transportation is a challenge. (EDM = America = trucks?) Secondly, it drops jog wheels and per-deck tempo controls in favor of touch strips and a master tempo control.
To people who aren’t armchair DJ controller critics, that last bit may not sound like the stuff of forum flame wars. Those folks, who I will dub in ethnographic terms as “normal people,” just read “Well, that’s a big heavy thing with lots of lights. And now something is something or other something else I’m bored.” Or, no, actually, they’re looking at pictures of cats, so never mind.
To the computer DJ, the new controllers are blasphemy for a simple reason: they cement the idea that you might not be manually beat-matching tracks. (Oh, the humanity!) To be fair, this isn’t just an idea espoused by random people on forums; some very famous DJs have said the same thing. The idea is, the essence of DJing, as received from the legacy of playing on two turntables, is manually adjusting the position of a record platter and its playback speed to match two tracks.
In the worst case version of this world view, automatic tempo sync is simply the work of Satan, the end of music, and the beginning of the end times. In the best case, it’s an automatic transmission in a car: sucking the fun out of driving, and not entirely effective.
Continue reading »
Ableton Live and Ableton Push afford new ways of working, allowing you to put loads of parameters beneath your fingertips. Of course, the means of doing that may not be immediately obvious, behind the dance between grid, encoders, and automation envelopes.
Leave it to Montevideo-born, virtuoso dance music maestro Gustavo Bravetti to show us how it’s done.
Gustavo pairs the MeeBlip SE, the enhanced “digital freak” original version of our synth, with Live and Push. To connect the hardware with automation of the external synth, he uses a Max for Live patch for the MeeBlip (which you’re free to download yourself if you own the MeeBlip/MeeBlip SE).
(The MeeBlip is not the first open source synth, as the video might imply, but could be considered the first widely-produced, ready-to-play hardware synth to be under a fully open source hardware license; others were available in kit form.)
The lessons here, though, work in any hardware synth. And you could also apply them to controllers other than Push, if you prefer.
In particular, note some particular tips:
- The Max for Live device automates sounds on a single voice by associating melodic steps with different sound presets.
- Preset automation will overwrite live tweaking, so you can tweak variations freely.
- Built-in morphing in his patch creates still more variations.
- You can use this as either a live performance tool or an arrangement tool – and even get obsessive with the latter, since it writes automation envelopes into your arrangement.
Continue reading »
Half Greek, half Peruvian, born in Lima but raised between Germany and New York, Sofia Kourtesis is a fresh, emerging voice. Her music interweaves shadows and introspection with smart grooves – seductive melancholy. Her mixes, too, cross similar territory, aided by her broad knowledge of music as a globe-trotting DJ and booker.
So, it’s a perfect start to our week this week, with some listening and a peek inside a studio. This is what’s so exciting about being in music now: we get to hear those new artists find original paths.
Apart from being a sci-fi movie addict and teenage veteran of a hip-hop band, Sofia is an obsessively hard-working DJ, now turning her style to a more minimal, restrained approach in her own music. And in those productions, you’ll hear the chime of toys and lo-fi flea market finds alongside more – innocence and experience. That mix of styles finds new clarity in her single, “Killa,” which to my ears is a strong indication this is an artist to watch, in advance of a release coming soon. You can check in later to see if I was right.
In the meantime, I was curious to talk to Sofia a little about how she works. Continue reading »
Morpheme excerpt [Electric Indigo & Thomas Wagensommerer] from Electric Indigo on Vimeo.
Journey into “Morpheme,” a half-hour audiovisual odyssey by Electric Indigo (aka Susanne Kirchmayr) and visualist Thomas Wagensommerer. An exercise in granular extremism, it begins as a delicately crackling mist of noise, as if atoms were dancing. Just about five and a half minutes into this excerpt, someone switches on a light, and it buzzes with pounding, angrily-vibrating rhythms.
Electric Indigo’s music is a regular feature here because I never cease to be amazed at the breadth of her musical output, ranging from darkly-grooving club-ready material to more idiosyncratic experimental voyages, over a 20-plus-year career. On top of that, her female:pressure project continues to spotlight deserving and under-appreciated women in electronic music. (For more of what you can dance to, if you need to move around a bit at the moment, read on.)
“Morpheme” with Wagensommerer is a literal, imaginative microcosm. Continue reading »
In an episode last week, South Park took on 17-year-old producer Lorde. The punchline: Stan’s Dad is actually Lorde. (For some reason, publications like SPIN think the writers are serious about this. In the immortal words of MST3k, guys, just repeat to yourself, “it’s just a show. I should really just relax.”)
What makes all of this interesting to us is that the show did go to some detail creating a realistic DAW UI. Eagle-eyed readers may figure out which UI elements were modelled here. It’s closest to SONAR, I would say, though with a GarageBand / Tracktion-style loop browser and a very clear Pro Tools toolbar at top.
And, yes, it does take an amusing shot at how production tools can mask … a lack of talent. (Guilty as charged.)
Continue reading »
I love wires. You might even say I dream of them. But it’s time to stop thinking of MIDI as being a wire. MIDI has always been transport independent; that is, it’s a protocol that can run over anything.
Apple has been doing more than anyone lately to exploit that potential, building wireless MIDI capabilities into iOS and (with the upcoming Yosemite) OS X. Now, here’s where wireless starts to look appealing – when you go mobile. Bluetooth is now capable of more reliable, low-latency, easy-to-configure setup than before, which means you might want to wipe your brain of your previous impressions of what going wireless means. We’ll do a full test as this stuff comes out (I’ve just received a PUC, and need to do some proper performance testing). But here are some previews of some of the tricks this setup can pull off. And they all work today – well, in some form, though not always on released software.
“Wej,” at top (pronounced “wedge”), is the most ambitious Bluetooth MIDI-based solution of those here. Cable lovers, it’s blasphemy. All MIDI and even all audio communication from the iPad is wireless, using bluetooth MIDI and AirPlay, respectively. Instead, you use the connector on your iPad exclusively for power. The Wej base station performs other functions, instead: Continue reading »