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UK DJ builder Allen & Heath may be best known as a mixer company, not so much a controller maker. But that’s a pity, because they make one of the most compelling controller units on the market.

Spoiler alert – the K1, like the K2 before it, feels great, has a terrific layout, works with anything you like, and more or less beats every other slim-line controller for DJing or VJing. Whatever you own now, you may find yourself wanting one of these to go along with it.

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The world has no shortage of MIDI controllers. There are big ones, small ones. There are, increasingly, loads of specialized controllers designed around apps.

The DS1 is designed to be something different: it’s a mixing controller. And as conceived in a partnership between educational studio Dubspot and Austin, Texas boutique builder Livid Instruments, it’s meant to mix in any app. It’s a mixer for prodution, but also for DJing. With templates for a variety of tools, it’s made to be as comfortable in Traktor as in Ableton Live as in Logic.

We’ve still yet to test whether it delivers on that mission, but what we can share now is the final design, pricing, and a pre-order.

The layout of the DS1 is mixer-inspired — so, it has what readers have told us too many controllers lack. That means, primarily, loads of knobs along with traditional faders, but in a form factor the makers say will be portable. As some controllers sprawl out into sizes that require their own luggage (yes, Maschine Studio, I’m looking at you), this is still backpack-sized, but without sacrificing number of controls.

What you get:
9 faders
44 knobs (note those color lenses in the image)
4 encoders
25 RGB buttons
Expression pedal input

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The original monome project did more than just create a novel piece of hardware for music. It established a design language for what essential digital interfaces might be, in the deceptively simple form of its light up grid of buttons.

It’s not so interesting to just copy that hardware, then. More compelling are efforts to extract the elements of the design in ways that can be turned into new things.

Adafruit has been slowly building up a nice set of building blocks clearly inspired by monome. Trellis is a system for making the grids component work – lighting the buttons and responding to keypresses in a big array. Add something like an Arduino as the “brains,” and you can add grids to your own hardware. In typical Adafruit fashion, everything is exquisitely well-documented and perfectly friendly even to those just dabbling in making their own stuff for the first time.

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From the early days of techno and electro, dance rhythms in electronic music have been woven together from international sources. The machinery of the groove has evolved from the threads contributed by a global tribe, absorbing sounds and forms, driven by the energies they find on the dance floor.

That image of solitary music making is a myth – what you’re hearing is a sound made by connections between people, across the normal constraints of geography.

And now, the technologies developed in Berlin and elsewhere take on new life in the hands of a new generation of musicians, and their own flourishing communities. So there’s something perfect about welcoming Dengue Dengue Dengue! – here the live trio, Felipe Salmon and Rafael Pereira on sounds and Nadia Escalante on visuals – to Berghain Kantine tonight in an event co-hosted by CDM. There, they’re halfway between the development houses that built the tech they’re using (Maschine and Ableton Live), even as they’ve honed those chops half a world away.

Dengue Dengue Dengue! join a lineup that shows just how explosive these musical transformations can be. There’s CLAP! CLAP!, the footwork-influenced Afrofuturist wonder from Italy. (The exclamation points in these names reveal some of the unbridled enthusiasm of the artists, I think.) There’s Argentinian-born EL G. There’s MR. TOÉ of Chile. And yes, Germany is represented – METEORITES, reuniting Marcus Rossknecht and Max Turner. (Marcus might or might not also have some connection to one of those aforementioned Berlin developers, too. But Berlin has a long history of making electronic technologies for music – and of finding ways of linking itself closer to the Americas, Latin America very much included.) If you’re in Berlin, you simply can’t miss this.

We decided to focus in on the Dengue crew and their approach to music and visuals, to find out how they play live and what their community is like.

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Let’s face it: Reason has started to look a little bit crowded lately. What began as a small rack of virtual effects and instruments has grown to add an enormous mixing console. Sequencing features have, since the beginning, been squeezed to tiny lanes at the bottom of the UI. And a browser floated around in a window.

Reason 8′s individual parts aren’t so different from Reason versions you’ve seen before. But it’s the way they fit together that has changed – rather radically.

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It’s called the PO-12. It’s $50. It’s absolutely tiny – a little stand props it up, inspired by the Nintendo Game & Watch. And it’s already sounding like a drum machine.

The drum machine first revealed to the world at a panel I moderated at Moogfest is finally, after manufacturing and customs delays, making its way to a select group of first owners – mainly VIPs and artists from that festival. What you’re seeing here is just a prototype; Teenage Engineering now says they’ll have a fully fleshed-out version some time in 2015.

There are two things, apart from the impossibly-low price, that make this appealing. First, it sounds really good. The bass drum and snare sound especially convincing; the other sounds are definitely glitchy and lo-fi, but they have a pleasant aesthetic – it sounds intentional. This has the digital character and quirk you’d expect from the makers of the OP-1. If you saw the video this week on Synthtopia, its creator has fixed his YouTube upload (at top) with one that doesn’t phase.

Second, you get parameter locks, which are beautifully featured in the hands-on video at top from Cuckoo. Human translation: you can add effects and triggers live and turn this into a performance interface. And that’s no coincidence, either. Jesper Kouthoofd of TE helped build the original Machinedrum.

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Annie Hall – Random Paraphilia EP PROMO from annie hall on Vimeo.

Spanish-born, Windsor-based producer/DJ Annie Hall is always something special, a gift to techno and experimental music.

Pushing her digital sound to the edge, she can sharpen her sound to glitch, fuzz, but always with a sense of warmth and intimacy. It’s cut tightly, but manages to tread techno-electro paths in its asymmetrical grooves. There’s never an absence of forward motion: like one of those crazy new robotic insects, all the complex kinetic action somehow makes it sprint.

And then, as she does this summer, she can head straight into the best possible, dubby, dark techno, spinning, swinging basslines grinding hypnotically in the shadows.

She’s on … too many labels to remember. She’s working with Kero on Riverside Manufacturing (RVSD), making limited vinyl. And she’s all over the planet, one of those rare relentlessly evergreen artists.

Somehow today I found myself revisiting the promo for the 2013 EP at top, Random Paraphilia, which reveals some of her IDM-ish side. It’s just splendid, with remixes by Richard Devine, Gerard Hanson aka E.R.P, and Valance Drakes. See the video at top, with perfect hyper-future-broken-glitch motion graphics by dmas3.

And then there’s what she’s cooking up this summer, the “Overlook” EP on Torque, with remixes by Truncate (U.S.A.) and Aiken (Spain):

Find them on Facebook – www.facebook.com/torquemusic – and grab the record on Beatport.

So, let’s just get through the middle of the week by queuing up more, shall we?

Think Stormtroopers more than Diane Keaton when you hear her name. And don't expect her to give up any rebel secrets, really. Photo of the artist, courtesy the artist.

Think Stormtroopers more than Diane Keaton when you hear her name. And don’t expect her to give up any rebel secrets, really. Photo of the artist, courtesy the artist.

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