Ableton alone can’t take you mobile, apart from bringing your MacBook running Live on the bus. But now KORG is ready to take your Ableton Live work on the road. Apart from adding native Live set export to their electribe and electribe sampler, the new versions of KORG’s iOS apps Gadget and iKaossilator do export, too.
And that’s just one feature in the deceptively-named “1.03″ release of KORG’s Gadget.
Gadget is one of those apps that I’ve had to file under “wow, this looks cool but I’ve no time.” As the name implies, you get a selection of synths and drum machines. Here’s where having a newer iPad benefits you, too – the latest processor runs up to 20 at once. There’s a 303-style bass, PCM and digital synths, virtual analog synths, semi-modulars, percussion synths, “wobble” and chip goodies. Then, you can either perform live with the lot or save patterns.
1.03 finally makes integrating that goodness easier, with MIDI input, Live export, and multitrack export, for starters:
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Few pieces of music hardware ever have had the impact that KORG’s electribe series has. And there was a time when playing live almost equated to showing up with this gear. Today, KORG has a genuinely new generation of that hardware, long awaited by fans. The engines under the hood are new, finally taking the tech we’ve seen on various KORG gadgets and building it into the flagship production gizmos. They allow for more live performance scenarios.
And in a first, you can use an electribe to build patterns for Ableton Live, creating on-the-go or onstage patterns you can bring back into your live studio.
And in a nod to the endless rise of the MPC-style grid, these are electribes with pads on them. There’s still an X/Y pad, but it’s shrunk to dimensions resembling a trackpad. And there are loads of knobs, the effect being oddly reminiscent of Swedish drum machine maker Elektron as much as something from KORG.
There are actually two electribes today: one called simply “electribe,” the other “electribe sampler.” (Yes, that new capitalization is official, too.) Continue reading »
The KORG volca sample is a fun-looking sample “sequencer” – it can play back, modify, and mangle pre-recorded samples in a step sequencer. But it requires a dedicated iOS app to do the actual sampling.
That makes for a mixed bag, straight out of the gate. As KORG says:
“The new volca lets you recapture the excitement of the first generation of samplers, in which any sound — vocals, spoken words, ambient sound, or glitches — becomes material for your creations!”
– right, but then it leaves out one of the best things about those hardware samplers, namely – sampling.
With that disappointment out of the way, the volca sample otherwise is full of some cool ideas. Let’s have a look at what it can do. Continue reading »
Akai’s Rhythm Wolf looks good. And its US$199 price impressed. But when we finally heard some noises out of it back in July, many were disappointed. And, as so often happens with music gear, we’ve mostly following a non-functioning unit at Musikmesse (certainly unfinished and possibly even damaged at the show).
A new $200 drum machine still sounds like it could be a lot of fun. Fortunately, it seems the waiting is over.
Our sources say that review units should be arriving this month, so expect a CDM review.
And we’ve seen an unofficial video appear that showcases a production unit, at top. If you’re wondering how that bassline magically appears, it was dubbed over later. Sound quality here sounds better, though I still have some questions.
Almost everything was recorded in realtime, external delay effect used on the bassline. The bassline in the first part of the video was added afterwards.
Subwoofer or headphones recommended.
One appealing aspect of the Rhythm Wolf is hack-ability. That reasonably large case could mean separate outs for the different drum parts. I definitely imagine pairing this with some external effects.
The Colectivo Triangular this video comes from is really cool – gear-obsessed IDM lover, surprise:
So, that’s the Akai corner. Now, meanwhile, at KORG…
Jesse Abayomi, Ableton Product Specialist, is one heck of a virtuoso Push player. And you can learn something from him, too.
Performance technology doesn’t always add to performance, it’s true. But when the machine and human are in sync, it’s beautiful. People can develop their musical chops and machine control chops at once – improve on their musical practice and technique. And when that happens, the quality of performances actually gets better.
I’ve seen a funny thing as Push has crept into performances. Just as with the spread of custom controllers in the past, access to more playing technique has livened up live sets. It literally makes it more fun to be an audience member – not only if you’re (cough) one of us creepy, nerdy people always hovering behind the screen of players, but even when out in the crowd, listening to the music being more dynamic.
Ableton, for their part, have begun spotlighting artists using Push. This is marketing stuff, but they’ve also presented some real techniques you can learn from. That is, they might be trying to sell you Push, but if you’ve got one already, you should pay attention.
With Jesse in Zone3 guise (shifting from his techno and house realms into bass music), he does some amazing things on “Chemistry.” It’s also a nice catalog of the sort of functions Push can accomplish. By my count, that includes:
- Clip and scene triggering
- Pad triggering (live, with velocity)
- Step sequencing (percussion, melodic)
- Step sequencing one-shot samples (in place of triggers)
- Melodic playing (bassline)
- Parameter control (via a macro – more on that below)
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As if Amsterdam Dance Event, the electronic music mecca of Europe and the world’s largest festival of its kind, weren’t packed enough already – there’s more.
Tucked inside the festival we’ve got five days of programming devoted to spatial audio, on the 4DSOUND system. As part of ADE Sound Academy, itself focusing on threads between technology, practice, and music, the event at Amsterdam’s Companietheater will explore the frontiers of new settings for music and sound. From plumbing the possibilities of the 4DSOUND’s forest of speakers to opening a discussion of immersive sound and music now and in the future, a combination of master classes, hands-on workshops, and live performances will challenge us to imagine what is possible as music fills new environments.
Meeting that challenge necessarily requires us to be engineers and artists, teachers and students, all at the same time. So I’m humbled to myself be involved in this program variously from all those perspectives, as an artist venturing into connections between architecture and music with Robert Lippok (Raster Noton), and via CDM, hosting discussions on how to push this and other technologies forward.
And you can be, too. The event is open to public attendance during ADE, and because we want your input, CDM is hosting an open call for participants to join us on a weekend-long Hack Lab. In that laboratory, limited in participation to facilitate maximum collaboration and time on the system, we’ll get to see what we can discover in finding new ways of exploiting spatial sound (and visuals). Continue reading »
That NI is making a keyboard to provide access to its Komplete line of production tools should surprise no one. And not just because of numerous leaks – it’s the next logical step for the Berlin software developer.
After all, NI has an entire line of hardware that makes access to Traktor easier for DJing. And it developed Maschine, a software tool that from the beginning was built to facilitate hybrid hardware/software workflows. The thinking is simple: computer software offers terrific versatility, but when it comes time to actually explore sounds and play, you want knobs and faders and buttons and pads.
As with the Maschine and Traktor Kontrol hardware, Komplete Kontrol is on one hand a standard MIDI controller. Connected to a computer, there’s no reason you can’t use it with other software via MIDI. But when combined with NI’s own software, Komplete Kontrol magically inherits other functionality and an unparalleled degree of integration with sound parameters and library browsing.
I’ve gotten a chance to talk to the folks at NI who developed Komplete Kontrol, and have an S25 keyboard here that I’ve begun testing. It’s too soon for a full review, but I can offer some first hands-on impressions – and answer some likely questions. Let’s get started.
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