Kid Kameleon Live at False Profit Tues Night Party BM ’11. Photo by Steph Goralnick

Here in the northern hemisphere, it’s the season of overabundance – bounties of overflowing fresh picnic fare, sun that stretches deep into the evening, celebrations and friends and saying yes to everything and no to nothing. And musically, we’re well into 2014′s surfing safari, atop the crest of a wave of new music. So for music listening, now is not the time for the cloistered contemplative curation of winter. It’s time to toss it all together, roll the windows down, and enjoy. CDM’s resident selector Matt Earp, aka DJ Kid Kameleon, sums up that kids’ fair-enthusiasm summer vacation ethos with a big new mix of sounds. But because it’s Matt, we also can count on discovering some new music missed in the click-chasing cool-kids dance of the bigger music blogs. -Ed.

I still believe in sticking to the craft of the DJing as presenting a story, whether it’s in the headphones or on the dance floor. Maybe in that sense, this mix is a little strange. I can hear people saying, “Project Mooncircle and Trap in the same mix? You’re crazy!”

But next week, I’ll take the drive from my native Chapel Hill in North Carolina to my beloved Outer Banks in 90-degree heat. This is a mix for that drive, and similar ones you may take.

I’d like to shout out just few artists who are making summer 2014 special to me. I share Peter’s overwhelming positivity about a new generation of digital creators – even as we’re awash in knockoffs, every day I find new artists and tunes that shine through, thanks to the ever-increasing interest in digital production techniques. So if you’re feeling the mix, please look closer at these producers. Continue reading »


In the digital age, the metaphor for DJing has been fragmented. You’ve got big wheels, but they represent missing turntables and don’t provide visual feedback. You’ve got CDJs, but then the waveform and the wheel are still separate. You’ve got vinyl records, but then you have to look at a computer screen to see where you are in the track. (A recent presentation at the NIME conference projected images on the record – see below – but projectors lack enough resolution for cue points on the vinyl.)

The iPad is the one device that seems to get it right. It displays a waveform, and by touching the waveform, you can navigate the sound. The cost, though, is all the other tangible, physical controls – iPads’ virtual faders and knobs just aren’t as satisfying to use as the real thing.

Oh, and then you also have controllers that focus instead on trigger points and percussive slicing on a grid — essentially, the MPC as found on a DJ controller.

Numark’s NV is either the first of a new generation of controllers, or the last gasp of all the remaining idioms. Or maybe it’s a little of each.

Displays for waveform views of decks. You get color waveform displays as on something like a CDJ or your computer screen. You can’t touch them as on the iPad – but at least you don’t have to look at your computer. And the displays are really nice, a “1:1″ view of what you’d see on a computer display in Serato – at least of each deck. (For everything else, there are physical controls.) There are two dedicated displays, but you can switch them among four decks.

- and displays for library navigation. Just to make sure you really aren’t looking at that laptop, the displays double as a way of browsing your library.

Big wheels. As on the CDJ and many controllers, wheels stand in for the feeling of using a turntable deck.

Knobs and faders, mixer style. Dedicated EQ, filter, effect, mixing, and the like – real knobs and faders. The knobs are capacitive, so you can switch modes, including multiple filter modes that add, if you desire, effects. And these also allow you to add “effects tweaking, EQ kills, and filter sweeps” – though that stuff always makes me shudder a little in fear of hyper-active DJs.

Velocity-sensitive pads. Yes, you get 16 drum pads, which do everything you’d expect – triggering samples (with velocity if you like), jumping to cues and loops, and slicing. Continue reading »

Hey, look: a controller, right in your browser, with drag-and-drop editing. No app needed.

Hey, look: a controller, right in your browser, with drag-and-drop editing. No app needed.

Tablet or phone or touch-enabled desktop computer – now it doesn’t matter. A free tool called (for the moment) Nexus lets you make any browser a canvas for music. iOS, Android, Windows, Mac – if the browser is there, your creations become omni-platform.

Shown at the NIME (New Interfaces for Musical Expression) conference in London earlier this month, Nexus is the most complete foundation for this idea seen yet. And since it’s free, it’s open to others to build upon. Right out of the box, it includes basic interface widgets obviously inspired by Lemur (and apps like TouchOSC), so you get faders and knobs and multi-touch arrangements of balls and keyboards and so on. But because it’s all built with Web tech, anyone can create any interface they imagine – with a custom look and feel, and complete with animations. And even in the browser, it uses OSC (Open Sound Control), for flexibility with a range of commercial or custom-built software.

Various demos are featured in a video:

There are a few ways you can work with Nexus, depending on whether you’re an end user or a coder, and which tools you prefer: Continue reading »

FLStudio64 BitRC_small

Imagine if you could go back in time and tell yourself you could some day you would have a copy of Fruity Loops that supported up to 512 gigabytes of RAM.

Well, while it’s doubtful anyone will use that theoretical capacity, technically speaking that day has arrived.

The big news: you’re no longer limited to 4GB of RAM in FL Studio. FL already let you skirt that problem a bit by loading plug-ins and samples separately, but in 32-bit mode, “the core FL Studio 32 Bit process is still limited to 4 GB and so out-of-memory errors can occur when editing very long audio files in Edison, or when the memory management techniques are not used. This won’t happen with FL Studio 64 Bit. Additionally, FL Studio 64 Bit also includes a complete update of most plugins to native 64 Bit format.” Continue reading »

FFS CA Convoluting Anode Web

The technique is called convolution, and it uses the power of digital audio theory to combine sounds, as if one is heard “inside” another. And if you’ve heard of it before, you probably associate it with reverb – rightfully so, as you can produce highly detailed, realistic reverberation with the technique. But as celebrated film and TV composer Diego Stocco has shown us previously, you can use that same potential to create sounds that would be otherwise impossible.

And it means you can fuse the sounds of a synthesizer with totally unrelated sounds to create something unlike you’ve ever heard before.

Diego Stocco recently picked up our own monosynth, the MeeBlip anode. Let me be a bit humble here for a moment. The hardware alone really doesn’t do the work. We tried to make a synthesizer that has its own personality, that inspires people. But it’s really a lot to do with the musician who picks up what we designed: Diego makes sounds with anode that sound like him, that don’t sound like just another analog monosynth – gorgeous, droning detuned hums reminiscent of a just-discovered, ancient folk instrument.

Continue reading »

Sonicstate has a First Look at the new Modulus 002 from Andy McCreeth on Vimeo.

It’s been a while since Britain produced a polysynth with analog filters. So perhaps it’s fitting that SonicState gets up close with the modulus.002, in a lavish, nearly half-hour tour of the instrument, as this luxury instrument goes head to head in a very select club (including Dave Smith’s Prophet 12, as far as the New World goes).

And the modulus.002 has some more surprises, as the creators show off their analog tradition-meets-modern design production. It looks very high-end indeed, and has a slick, modern layout to match (though they’ve still included wooden end panels). There’s a joystick for the wavetables. There are pretty text labels. And there’s a bright, crisp AMOLED display, a bit reminiscent of the Teenage Engineering OP-1 (but still something of an rarity in the cut-cost world of synths). There are “animator” features for sequencing parameters, and deep options for mucking about with all those digital oscillators.

All in all, it looks like a luxurious instrument you’d want to pin to your bedroom wall and lust after, girls and boys.

It’s a great tour with Paul Maddox, Philip Taysom, and Luca Mucci – was a pleasure to meet Liam Lacey, as well, recently, in London.

And extraordinarily, developed in just 12 months.

And about the cost – brace yourselves – £2995 +VAT / $5200 / €3750. Yes, watching this video seems a bit like seeing the synth equivalent of Top Gear. There’s a thing of absolute, total beauty that my wallet can’t quite fathom at the moment.

Which brings me to an obvious observation: I’d love to see a monosynth version, a, if you will. Sure, the layering is great, but there’s still an awful lot of fun that could be had with a single voice, the joystick, and some parameter animation, for those of us on a budget.

But it’s phenomenal to see something high-end like this in wide production, and it seems the birth of a great new maker. Can’t wait to give you folks a visit soon, and definitely will be on my agenda for any UK tour.
Modulus.002 PolySynth Exclusive First Look

Also, some specs to summarise for you: Continue reading »


So, you’ve assembled a nice collection of synthesizers. Maybe there’s hardware – some KORG volcas, a MeeBlip or two, or even modular. And of course, you have software synths, as well. Playing each individually – that’s kind of limited. Why not treat these as the digital instruments they are?

That’s the idea behind Polymer, a new Mac app out today on the Mac App Store. It can turn multiple monophonic synths into a polyphonic synth – making a “giant mutant polysynth” out of devices you’ve got. In fact, you don’t even have to use hardware exclusively – it works with software apps, too. Having covered hardware earlier today, many of you complained that you don’t have the money for hardware. Here, a couple of cheap monosynths can be a polysynth; a MeeBlip and Massive can turn into a hybrid software/hardware instrument.

Basically, if it uses MIDI – hardware or software – you can now treat it as one instrument. This was certainly possible before, sure. But it’s never been quite this easy.

CDM got an exclusive advance look at the app. Our full review and some demos will come shortly, but I’m already really impressed.

Here’s how it works: Continue reading »