It costs just a hundred bucks. It’s tiny, in a metal case with ultra-compact knobs and light-up buttons for hands-on control. And with MIDI, USB, CV, and even dedicated littleBits ins and outs, there’s a reason I described the announcement of KORG’s new SQ-1 sequencer as a sequencer that does everything.
But doing everything in such a little box is a tall order. And the SQ-1 packs in so much, it’s not obvious what its capabilities can be. One one hand, there are some powerful features that you might completely miss (like MIDI-to-CV capabilities). On the other, it has some limitations you should know about, as well. In trying to be all things to all gear in the smallest package possible, it has to make some sacrifices – so it’s better at some jobs than others.
I’ve gotten my hands on one and begun to use it (thanks to a studio neighbor who brought one back from Japan). And I’ve been in touch with KORG’s engineers in Japan to clarify its capabilities. So, let’s take a detailed look. Continue reading »
And, let’s take a moment to have a laugh at the expense of EDM DJs – and, around that moment where you get some bloodied laptop fingers, ourselves.
YouTube Comedy purveyors Nacho Punch take on Oscar-winning Whiplash – a film about a jazz drummer – with a DJ rendition set in a made-up “Skrillex Academy.”
You’ll want to have the original fresh in mind first, so see the original above, then the parody below.
And then… well, here I was going to make some snarky comment or some sort of clever insight, or perhaps broaden the comedy to some deeper reflection on the meaning of…
Who am I kidding? Now I’m probably just going to spend the rest of tonight watching the rest of these YouTube videos, instead of the usual wundergroundmusic.com stories. Yeah, thanks for that. I should really be getting on a new mix in Traktor. Why don’t you see glow sticks any more, anyway? I … lost my train of thought. Crossfade.
I was going to write something, but – well, it’s a tuner. Watch the film, from Ableton Liveschool. And I have to say, Ableton has found a way to make this Device more interesting than previous Max for Live efforts. It even has a histogram.
Perhaps the most newsworthy element here – a sign of the times – is that the resurgence of analog synthesizers has meant that tuning outboard hardware is now again an application for tuners. You’ll see in the video here an example with the classic MOOG Minimoog, but see the Ableton-shot photo below for an Arturia MicroBrute. Keyboardists, not just guitarists, are now using tuners, too.
If only we had some digital means of keeping things in tu– jeez, what the heck is going on, anyway? Strange, cyclical days.
It’s nice to get what you ask for. More than any recent release I can recall, Ableton Live 9.2 feels like it’s ticking off a task list of user requests. The software enters (a very stable, in my experience) public beta this week. There’s nothing earth-shaking, but I know CDM has enough Ableton users that this will matter.
To get there, though, be forewarned: Ableton is dropping support for some older Mac and Windows operating systems. (10.6 and earlier / Vista and earlier, respectively.)
If you make the cut, though, you’ll likely find some welcome changes in this free update for Live 9. See if these complaints sound familiar to you – as now they get addressed:
You want to warp techno and house without headaches. This one was especially maddening: you drop a completely regular, four on the floor, 125 bpm track into Live, and get … a whole bunch of complicated warp markers and tempo changes? Uh, that’s note right. Ableton says they’ve improved Auto-Warp and downbeat detection to better recognize fixed tempos. No more “four scattered on the walls, ceiling, and your face.” Back on the floor. Good.
You wish warped tracks sounded better. Ableton promises improved Complex and Complex Pro warp modes with “punchier transients, even at extreme settings.” So far, the difference is subtle, but sounds good – think clearer rendition of sharp, percussive sounds.
You want better latency compensation. The big development here, and one we’ve waited for, is that automation is fully latency-compensated. Previously, adding automation could through off latency compensation for devices. Also, Ableton says they’ve improved latency performance with Max for Live and third-party plug-ins.
Some more details on the latency compensation improvement, from Ableton: “Latency-compensated automation refers to applying delay compensation to automation events. Previously, clip contents were compensated but automation breakpoints were not. This meant that in Sets with latency-inducing plug-ins, automation might occur before the corresponding events in clips. This doesn’t happen anymore.”
You play an instrument, and forgot a tuner. There’s now a Tuner built-in. Yep, I think we had a whole article about this, so thanks!
You want to play pads on your whole Push, not a little corner of it. Here’s the thing: Ableton’s Push hardware isn’t an MPC. So a 16-pad grid is a small corner of the controller. In Push’s Drum Rack mode, that allows the use of a step sequencer with the extra pads. But maybe you’d prefer to wail away on all 64 pads. Now, you can switch between these two modes. (Novation has actually made the lack of a step sequencer on their Launchpad Pro a selling point for this very reason. If you want to have your cake and eat it, too, though, Push’s ability to choose may be ideal.)
They’ve also released a new video showing that off – below.
Sonic history in electronic music may be made with technology, but it’s also the output of someone’s brain. As such, it’s natural that liberated creativity can produce all kinds of possibilities. And it should be no surprise that history sometimes comes in cycles.
Or… make that rectangles.
Speaking of Poland, this short animation, crafted in 1971, features spooky sounds that would be at home on any modern dark techno floor. Entitled “Prostokąt dynamiczny” – literally, “dynamic rectangle” – the animation is by experimental filmmaker Józef Robakowski, with music by the incredible Eugeniusz Rudnik. We saw Rudnik yesterday in our piece on Polish electronic music pioneers (and their connection to modern partiers), and featured in the Boiler Room film.
It’s worth considering the visualist here alongside the sonic artist. The Poznań-born Robakowski was an early pioneer in video art and experimental film – on the standards of the international stage, not just as a curiosity from Poland. His work ranged from conceptual pieces (photographing coriander, for instance) to meditations on Poland’s still-recent, dark history (piecing together collage from the Holocaust). Continue reading »
When audio software maker Camel Audio announced they were ceasing operations and making their product line unavailable, we considered two possibilities: either they had simply closed shop, or they were bought.
Well, they were bought. That is, we can’t confirm the plug-in vendor has been purchased by Apple. Here, let’s line up two scenarios again. Either:
1. Camel Audio spontaneously moved their UK business registration to Apple’s London address and named Apple lawyer Heather Joy Morrison as their sole Director. (Upside: awesome prank. Downside: um, maybe you get thrown in the Tower of London, or whatever England does these days.) OR –
2. Apple bought them.
MacRumors breaks the story, but this is no “rumor.” Because the UK corporate registry records are public, they have the PDF of the filing. (See below.) And Heather Morrison is listed on LinkedIn as Apple’s iTunes Senior Counsel, Europe. (My guess is this has nothing to do with the App Store or iTunes, but just that Ms. Morrison is the most convenient senior legal representative for Apple in the UK.)
Okay, so now we know Apple bought Camel. What does it mean for Camel’s products, like CamelSpace or CamelPhat? Continue reading »
The setting looks futuristic — like Stanley Kubrick teamed up with Syd Mead to make a theme park. But it’s actually Warsaw and environs. And the path the future is via the past, and a history largely unknown outside of the country. Boiler Room, best known for webcasting parties, shifts gears from what’s new-and-hip to where it all began, and the result is inspiring.
The film was directed by Marcin Filipek for Boiler Room with the input of Gosia Herman of Boiler Room Poland, and is the result of half a year spent gathering artists. The stunning imagery is the work of cinematographer Michal Dabal.
The strongest part of the film is unquestionably its glimpse of early Polish pioneers, and the challenges they faced as they carved a path through new electronic musical frontiers. So, you get: