The market is clear: guitarists (and other instrumentalists) want to plug in a piece of hardware, fire up their Mac, and start playing with GarageBand right away. The announcement of Apple’s new Logic Studio 9 last week coincided with the release of new hardware from Apogee, the audio vendor that has gone Mac-only and Apple-centric. Today during a meeting with Apple, I got my first in-person look at the GiO (pronounced “Geo,” like the compact car, not G.I.O. as would rhyme with G.I. Joe).

A number of impressions that I didn’t get from the press announcement:

The hardware looks great. It’s tough to describe until you see in person, but while it seems to look almost cheap or toy-like in photos, the hardware is quite substantial, solid, and attractive. It’s also nice to see a pedalboard that’s fairly simple, with ample clearance between controls – essential for playing with your feet.

It has awesome colored lights. No, really. Not only do the lights change color, but they’re actually color coded. So you can see, for instance, which stompboxes you’re using based on the color.

It uses MIDI. Let’s get this out of the way. Apogee made such a big deal of saying this was compatible with GarageBand and Logic that I began to wonder if they’d somehow found a way to make something as simple as a pedalboard incompatible with everything else! Not so – the GiO just sends standard MIDI over USB. I’ll have to ask Apogee how this maps, and you may still be Mac-only assuming they wrote their own drivers. But I would imagine at the very least, if you want to swap between Logic and AmpliTube or Logic, you should be okay.

GiO [Apogee Digital]

If you’re in love with Logic and GarageBand, GiO looks quite nice. $399 would be steep for a few buttons for your feet, but in a nice housing with an audio interface, if you get heavy use out of it, you may feel differently. You get integrated control, low-latency audio (instrument in + line out), 5 stompbox buttons + 5 transport controls + next/previous controls, and expression control. Of course, this is not news if you’re happy with similar solutions from IK Multimedia, Line6, Native Instruments, and WAVES – all of which also have impressive software and integrated hardware. And there’s nothing stopping you from using that hardware, or other MIDI pedalboards, even with Logic. And I’ll just keep dreaming of a thin-but-large magical pedalboard that I can toss in a bag with a laptop. My feet need more to do.

Moog’s Moogerfoogers, the boutique all-analog hardware effects units, are brilliant piece of sound gear. They’re accessible, terrific sounding, and exquisitely-designed in terms of interface and control. Even as a software person, I just have a lot of respect for the design of these boxes.

I’m sure Moog Music hopes you collect these things (oh, if I had that budget), but if you had to take just one Moogerfooger, the just-announced MF-105M might be your strongest candidate. First, it combines the two previous Moogerfooger MuRFs – that’s the Bob Moog-designed Multiple Resonance Filter Array. The MuRF (rhymes with “Smurf”) is basically eight filters which are sequenced to “animate” the effects in interesting ways. The original MuRF led to a set of bass filters, aimed at bass players or guitar players “looking for a heavier, darker sound.” Previously, you’d have to buy two separate Moogerfoogers to get both; the MF-105M just gives you both in one box.

More importantly, the “M” in the MF-105M stands for MIDI. Modulation is only fun if you have something with which you can modulate. As on the whole Moogerfooger line, you can use Control Voltage, but the MF-105M also uses MIDI, as seen in the demo video below.

• Change from pattern to pattern using MIDI Program Change
• Sync your patterns to tempo with MIDI Clock, so you can play along with a drum machine, Ableton Live, whatever
• Control any front panel with MIDI Control Change messages – for instance, control the envelope with your Mod Wheel
• Play the filters with MIDI notes

It’s still US$479, but you get what would otherwise require two of these units plus a MIDI-to-CV converter. And it’s all set up to use out of the box. It’s definitely a keyboardist and synthesist-friendly Moogerfooger – and for guitarists with MIDI guitars and a lot of imagination.

Moog Moogerfooger MF-105M

Thanks to Ben Hovey over at Moog for sending this our way. (And yes, everyone is free to send us your product news, please – can’t guarantee it won’t get lost in my frightening inbox, but…)

Available in August. Video (silly titles, but about halfway through they have some useful demos):

Nick Maxwell of the excellent Nick’s Tutorials Ableton Live production site shares some free explorations with us, complete with downloads you can reverse-engineer the instruments and play with the topics the video cover. You can also use these in your own work, royalty-free.

I really like some of the work here, from a kitchen knife to a found sound bass. Here’s Nick:

“Icy Shimmer” Effect

In this video, I use a few field recordings of a kitchen knife being unsheathed as well as a door closing as the layers for the eventual sound effect.  Basic things like reversing the waveforms, filtering , panning, and retuning are employed.  I also go beyond that into some more interesting stuff like using a grain delay, simple delay, and an autofilter to create a little effects section to further realize the sound.

Download

Two Drums Created From Samples

In this video I use field recordings to create a kick drum as well as a snappy percussion sound. Some of the techniques include pitch and filter enveloping, working with non-zero crossings to create an interesting attack for your drum, layering samples, and more.

Download

“Jungle-Bass” (2 Parts)

In this video I use field recordings to create a bass patch that might be used in a Jungle or Drum’n'Bass production. I go over some basic intermodulation between LFO’s, describe the Saturator effect’s controls, use the morph parameter to create an interesting filter curve, and more. Additionally, I show two effects that were released with Live 8: The Limiter and the Frequency Shifter.

Download

The NAMM show brought a cluster of new soft synths from some beloved synth makers. The interfaces are noticeably conventional, but there are some tasty sonic features in store. Most of these are promised as “coming soon,” not available now, but here’s a quick look at what to expect.

By the way, if you’re one the people complaining that you’re sick of everyone talking about Ableton and want something else to be excited about, I have one word for you:

D.CAM.

Let me sum it up in one line first:

minimoog V 2.0: Rewired circuitry, automation recording vocal filtering, and weird 3D preset browsing mean if you like minimoog, you’ll like it more.

Brass 2.0: physically-modeled brass stuff you can play more easily with controllers, now with a sax model and fully spatialized and harmonized.

Trilian: Even more of the synth that gives you more bass than you need – and now your Intel Mac can run it in place of Trilogy, for free.

Largo: It’s a Waldorf synthesizer, but it’s software. You can’t afford a Blofeld, but you can afford this, and then use it in a coffee shop.

D.CAM: Synth wishes granted: thick parallel-waveform performance synth plus vintage-style string synth plus big, modern FM plus and environment to put them all together.

(added!) impOSCar 2: Features aren’t confirmed yet, but an early look at the OSCar emulation suggest a very big sequel indeed.

And you can add that to the coming Operator 2 and Collision in Ableton Live (either a la carte or the suite). In fairness, these are exactly the sort of synths that make people wonder why they should pay for Operator – but one look at the clean interface in Operator, and how much it can do in that compact interface, and I think it fits in just perfectly. Collision, meanwhile, gives us physically-modeled percussion, which I really want to see more of.

By the way, in comparison most of the hardware announcements (microKORG XL, new V-Synth OS) at this show were, to my mind, more incremental than the goodness that shows up in the software stuff. True, D.CAM is the one new entry here, but, well, technically it’s four entries on its own, and there’s quite a lot in the upgrades, some of which you get for free.

Certainly, what we have is a ton of sequels to some of the biggest soft synth hits (Arturia minimoog V, Trilogy, and impOSCar in particular).

Arturia minimoog V 2.0

It’s an odd version number – five two? Okay, that’s “two” as in the number, “V” as in virtual, not the Roman Numeral. But for fans of Arturia’s flagship Moog emulation synth, 2.0 brings some interesting new features. Sound MAP is an odd, graphical way of exploring presets, although it strikes me a bit like what would happen if you took a preset browser and dumped all the presets on the floor. (For me, this brings back flashbacks to Apple’s HotSauce, an experimental 3D interface for metadata on the Web. Thanks, Mattbot. Everyone else, don’t ask.)

All of this would be gimmicky and useless, except that you can use this strange, 3D interface to morph between preset ideas. If you could also use it to select interpolate between random parameters, I’d go nuts – I’ll leave that to someone else to implement.

The other features are more likely to please everyone:

• A vocal filter feature with an X/Y morphing interface with different formants (not new to synths, but certainly new to Minimoogs, real or emulated)
• Circuitry and modulation destination improvements
• Automation with real-time recording

Together, it looks like a worthy upgrade for fans, some of whom I know just live inside this synth.

Arturia minimoog V 2.0 [Product Page]

Elsewhere: The folks at Future Music were especially excited about the new features, particularly that browser and the way the Vocal Filter sounds. (I didn’t follow, though, was the uberfeature the Sound Map or the Vocal Filter? We really have seen these sorts of things before, which is not to take away from Arturia’s cool implementation here.)

And it’ll cost $299/EUR229 to upgrade from the current – wait? What’s that?

No, it’ll be completely free for existing users. Now there’s a reason for some customer loyalty.

Arturia Brass 2.0

Arturia also refreshed their physically-modeled brass synth, which now has a saxophone model – the tenor Buffet-Crampon. (Nice choice! And I’m partial to tenors, as I grew up with my father playing tenor in his college pep band.)

Also new: harmonization features, spatialization, MIDI integration features (ideal for, say, the newly-shipping Akai EWI USB wind controller). There are also pre-composed riffs by genre, if you’re feeling lazy, though I heartily recommend doing things the hard way.

The minimoog is slick, but I actually think Brass may be a bigger upgrade – and while you’ll find other moog-y sounds, Brass is a really unique sound source. IRCAM, Paris’ legendary sound research center, is responsible for the sounds inside, meaning you can imagine slightly unshaven, French students in white lab coats every time you use it, which has to be worth something. (I actually wear a lab coat when I’m designing sounds, I know that.)

Brass 2.0

Elsewhere: Sonic State grabbed a video demo of Brass 2.

And it’s also free to upgrade.

Spectrasonics’ All-Bass Trilian

How is it that some readers are more excited about Trilian than any other soft synths when all it does is bass sounds?

Well, perhaps because this is successor to Spectrasonics’ Trilogy is the uber-bass plug-in. Upright ? Check. 5-string? Yep. Roland 303? Why not?

Now, normally instruments based on lots of sampling leave me pretty cold, but the STEAM engine – used in Spectrasonics’ Omnisphere – gives you synth-like controls. And I think Trilian’s narrower focus on just basses might earn it more attention than Omnisphere got. (The latter was hyped like crazy on announcement, only to be oddly forgotten, relatively speaking, by the time it came out – maybe because it’s so huge, none of us can fit it on our hard drives.)

And by the way, talk about earning good will: if you own Trilogy and have an Intel Mac, Spectrasonics will give you Trilian for free (shipping only, in place of the usual US$99 upgrade price). So, sure, Apple burned you by switching CPUs, and Spectrasonics could profit – but they’re not.

This means even as I chide Novation, Spectrasonics earns the “Good Sense Wins Over Accounting” award.

Other specs:

• Big, new library of acoustic, electric, and synth basses
• Arpeggiator
• All the original patches, refreshed
• Gobs of articulations in the design, for live performance or scoring
• Modulation with FM, timbre shifting, and some unique modulation deliciousness
• 64-bit support
• A name that subtly references the Hitchhiker’s Guide to the Galaxy

Too many other things to list, so just check out:

Trilian Announcement

Spectrasonics does some really incredible stuff. It’s mind-boggling overkill in some ways (ridiculous sampling plus ridiculous synth design), but there’s nothing wrong with that – especially when it serves nothing but bass. And there’s just so much control in there, it really is a sound design dream, not just a big pack of sample files.

US$299, due in May.

Waldorf Largo

It’s a Waldorf synthesizer, but it’s software.

I don’t really have to say much else, but suffice to say, it runs on Windows, it runs on Mac (VST and AU), and it’s all that lovely Waldorf-ness in a virtual rack. The software interface gives me deja vu relative to a number of Logic synths, among others, but then I think there’s just one guy who designs all UIs for all software. (Okay, maybe there are … two guys.)

• Voice architecture from the Q / Blofeld
• Three oscillators, two with sub-oscillators, modeling analog waveforms plus PPG, Waldorf Wave
• Ring mod
• Multi-mode Waldorf filter (“Taste the difference” seems to be Waldorf’s message, if you believe them)
• Modulation matrix, fast, syncable LFOs
• One arpeggiator per layer
• Effects

If you’re in synth overload, I’d say move along, but I know there are some folks who have been coveting Waldorf in software, and now you’ve got it.

Largo [Product Page]

I just wish they hadn’t given it a name that makes it sound like a notation product, but I guess that’s forgiveable. Pricing? Availability? No word yet.

Fxpansion D.CAM Synth Squad

D.CAM is a bunch of modeled-analog goodness. Now, the FXpansion boys want you to believe this is all about emulating the goodness of analog, but to me the real story is that you get loads of digital synthesis power that bring together some of the best old stuff with the best new stuff. The products read a bit like a wish list for synths, and then the Fusor product lets you put them all together in semi-modular fashion.

The marketing is a little muddled, and seems to feature evil dystopian overlords with giant red eyes. But who cares? The synths look fantastic. I, for one, welcome our new dystopian overlords.

Strobe is a “super-oscillator” performance synth with parallel waveforms, sub-oscillators, a filter with drive, voice stack/detune – think thick.

Amber is a vintage string synth, which takes classic divide-down string synths and adds new absurd modulation. Delicious!

Cypher has lots of knobs and lots of arrows! Okay, basically the idea here is audio-rate FM with lots of shaping and filtering and still more modulation. FM is back, for sure.

Fusor is an environment in which you can layer your D-CAM synths and modulate them. There’s an arpeggiator and step sequencer. This might seem like overkill given the number of environments out there that do this stuff, but in this case you get a consistent interface and semi-modular capabilities. It’s no Reaktor, but it’s a bit like what I’d imagine a set of one really brilliant person’s Reaktor ensembles might look like.

http://www.synthsquad.com/

Elsewhere: Gearwire has a nice write-up that sums this up with one line: “This trio combines the most sought after features in classic synthesizers with the synthesizers of tomorrow . . . today!”

In other news…

Zebra is now up to 2.3, which I believe is also NAMM news (or announced at the same time). “Point 3” in the crazy, synthtastic world of Urs Heckmann means things like a skinnable UI, sideband modules, MIDI program changes, Mac RTAS, a resizable editor, compressor modes, comb filter, and … okay, I can’t actually list it all. The sideband alone sounds fantastic. Whoever out there has time to program Zebra and reskin it, I salute you.

Other soft synth news I’ve missed? Let us know.

And what has you most psyched?

impOSCar 2

I missed this important preview, as it wasn’t really an official release at NAMM – the features shown aren’t even fully confirmed. But one of the best vintage emulations out there, impOSCar 2, is up for getting some improvements. Interestingly, some of the directions GForce’s Dave Spiers is taking (like more modulation routing, ring modulation, and more particular synth controls) parallels some of the other stuff we’re seeing added to modern soft synths. I do like the sound of chord mode, polyphonic aftertouch, and portamento spread – this could be a very playable synth.

My usual caveat on this sort of thing is, I tend to personally shy away from synths that focus primarily on emulation of a previous model, just because that sort of thing doesn’t hold as much appeal for me. But GForce – not unlike Way Out Ware’s emulations, also distributed by M-Audio – certainly manage to be the better in this category.

If you are interested in impOSCar 2, this is the one case in which the folks on the NAMM floor have the definite advantage. Check out SonicState’s video below, and further details from the gang at Computer Music (via MusicRadar):

Computer Music: GForce impOSCar 2! See it, hear it, pull funny faces!

SonicState with the instrument’s creator:

Thanks, michel / bliss! (I had wanted to cover this and … yep, forgot.)

It’s iPhones being used by cute babies! And if that doesn’t sum up the ways in which Apple’s mobile is divisive, I don’t know what does. It’s time for our Monday round-up of the latest from the Apple iStuff world.

I’ve never been an advocate of the iPhone and iPod touch; the idea is to cover all digital music platforms on CDM, and as regular readers know, I have no love of Apple’s strict NDA and restrictive developer policies. But I did find this reader comment by PLP amusing:

I was getting annoyed with the amount of iphone info on CDM as well…then I broke down and bought one today :) i really like itouch midi. little XY pad perfect.

If you’ve found yourself in that boat, today’s round-up of iPhone and iPod touch news brings some very good news: BtBx, the PSP Rhythm creators’ wonderful beat machine, in action, iDrum working with round-trip workflows and operated by babies, and a multi-touch OpenSoundControl app on the app store.

BtBx in Action

What it is: The creators of the popular PSP Rhythm for Sony PSP show off their latest beat-making app for Apple. And it costs about as much as one beer — during happy hour.
Why it matters: Designing UIs for mobile apps requires a return to efficient, minimal interface design. Mark my words – that’ll start to influence desktop UI design for music software. And, yo, Sony: this could have been an official app on your platform, except you refused to make them an official developer. Indie PSP store, please?

Louie (RCON) shares two tasty BtBx videos. First on deck: making some acid basslines with BtBx. Skip the first couple of minutes — it’s the usual beat step sequencer you’ve seen before. Things start to get interesting further in as he sequences a live bassline. Note this is also the first time we’ve seen a full-blown synth in one of these apps, which for me put BtBx at the front of the pack. Part of why I like the Sony PSP is that it’s very capable of doing a lot of hard-core synthesis; we’re still waiting to see how much the iPhone can do.

For a sense of BtBx’s workflow, here’s a video demo of mixing songs:

BtBx was later to the game than iDrum and BeatMaker, but my guess is it’s going to start to earn some attention. I’ve just gotten my refurb iPod touch for testing these apps, so watch for a three-way battle soon. They each have their own strengths, and they’re very different. But don’t think that’ll stop me from letting my own biases loose and choosing a favorite.

iDrum + iDrum = Round-Trip Ticket

What it is: An update to the iDrum desktop app means you can take samples and patterns from your Mac and PC, then to your iPhone / iPod touch, and back again.
Why it matters: The laptop/desktop computer remains the center of music making for most people, and mobile tech isn’t likely to change that. But imagine simpler, portable versions of your favorite music apps, so you can develop ideas on the road and bring them back to the main environment. (Ableton, are you listening?)

iDrum has a unique feature, which is the ability to make custom sample packs and/or patterns in iDrum on your desktop Mac or PC, load them on your iPod touch or iPhone, edit them in iDrum, and then bring the full patterns back to your desktop. That solves an important issue, which is that MIDI export from a mobile device gives you patterns but not the sounds you created them for, whereas audio export gives you both but can’t be edited as easily as MIDI. It’s the first real round-trip workflow we’ve seen on the Apple platform. (Palm and Windows Mobile have done something like that before with music apps, but it’s still big news. Any Palm/WinMo historians, did any match up the desktop and mobile app quite like this?)

The trick was, we were waiting on a desktop update to actually use this. It’s now here, in the form of iDrum 1.64 (and later):

iDrum Product Page

Here’s a great demo of how iDrum in general works:

And for all of you iPhone haters who said these are just toys with UIs that look like they were designed for babies — okay, maybe you were right. But Baby Nicolina would like to have a word for you. If you insult her mad production skills, she gets really angry.

(The uploader notes Nicolina can “* Sequences notes * Turn the sequencer on * Solo the kick drum and modify which notes play * Bring in the modified kick drum part with the overall beat!”)

OpenSoundControl App on App Store

OpenSoundControl is a terrific, open protocol for controlling music and visual software more flexibly than you can with MIDI. It’s ideal for the iPhone and iPod touch, because these devices use networking protocols to communicate with the outside world.

We’ve seen controller apps on the “jailbroken” iPhone, but OSCemote is the first to be available via the official SDK and App Store. (That should be a reasonably good sign, in that it means at least some of this functionality is possible using Apple’s official SDK.)

It’s quite a nice app, as you can see. I like the simplicity of it, actually, as there’s not a whole lot of space on an iPhone for your fingers. The killer feature is clearly the Lemur-like multi-touch mode. And because it uses OSC, it should be a snap to hook this up to apps like Processing or the new Circle synth.

iTunes links:
OSCemote
OSCemote Light

I’ll definitely be testing this and will report back. A free version gives you pads, so try that out first; the full version is US$5. I am still interested to watch for jailbroken apps to make their way through the hurdles of the new SDK and, hopefully, show up on the official store. Some of those apps do things this one doesn’t, one (mrmr) has been open source, and choice is good. (I’m unclear on the implications of Apple’s developer agreement for open source; maybe someone has some idea.)

Here’s a quick review of those apps:

iPod / iPhone Touch as Visualist Controller: Free, Multiplatform with Pd (Pure Data)
Mrmr : iPhone + 10.5 + Quartz Composer = Wireless VJ Nirvana
MIDI Control with iPhone and iPod Touch: i3L MIDI Bridge
aka.iphone 2.1: More iPhone and iPod Touch Performance Tools; launch video

These won’t work even if you jailbreak your 2.0 iPhone/iPod touch, because the firmware changes are incompatible with these 1.x jailbroken apps.

We’ve also seen one official DMX controller

More entries for our next iTouch round-up? Send them our way!

Native Instruments is releasing some cheaper ways of getting at their software guitar modeler, Guitar Rig, in the form of a cheaper software version and a hardware bundle:

• Guitar Rig 3 XE is a "lite" version of Guitar Rig, focused on the basics — 5 guitar/bass amps, 12 cabinets, and 21 effects. It also some of the "helper" modules from Guitar Rig, including a metronome, tapedeck, and tuner — but no looping module, which is one of my favorites. (See the full list.) US$99 on its own.
• Guitar Session bundles the XE software with Cubase 4 LE, some pop drums for KORE player via a soundpack, and the Session I/O audio hardware. US$250 for the bundle, available June 1 worldwide.

The audio hardware, of course, is the highlight of the bundle. It’s USB 2.0, has some nice converters (Cirrus Logic), and has 2 inputs, 2 outputs — both mics do line and Hi-Z for guitars and basses; one also has mic in with phantom power. 24-bit / 192 kHz is probably overkill for the guitar hobbyist target market — it’s overkill for me, too. But I’ve been really happy with NI’s recent audio hardware, as have the other folks I know, particularly those who have tried their Audio 8 DJ interface. (Ean Golden DJ Tech Tools just did a review.)

Guitar Rig Session Product Page

In fact, there’s nothing that means you have to be a guitarist to get this bundle. Guitar Rig sounds very nice as a general-purpose effects suite; I’ve used it on everything from drums to sitar, and it’s especially nice on keyboards. And the audio interface comes at a nice price.

If you can afford spending more, though, it could be worth it. Guitarists (and others, too) will likely miss Guitar Rig’s foot pedal control, and the tape loop module is one of the gems of the suite. Also, NI’s Audio 8 DJ and Audio Kontrol 1 each have assignable headphone outs for monitoring a separate headphone mix. But for what you pay, this is a pretty good deal for someone. It’ll just have to stand up to competing budget solutions from Line6 and IK Multimedia — there’s some really intense competition in this market.

Didn’t intend for this post to go on this long. Now you know what it’d be like if I worked at Guitar Center and you had to talk to me. (I imagine lots of customers awkwardly walking away, or pretending to get a mobile phone call.)

Enter online photo sharing. Screen grabs can make software rigs visible. For example, someone’s been busy putting together a monster bass channel strip in Ableton Live:

Contained: the synth source is Vember Audio’s Surge digital synth, fed into Ohmforce’s Ohmicide saturator/distorter, Waves’ C4 (a multiband parametric compressor), L2 (ultramaximizer) and Maxx Bass (bass enhancement), and Ableton Live’s own Auto Filter and Saturator. Kids, don’t try this at home. I’m amused because this is hilarious, goes-to-eleven overkill.

Got some screen grabs you want to share? Add them (and anything else music-related) to the Create Digital Music Flickr pool, and drop us a line if you think we’ll find it especially interesting.

I’ll be interested to see if tools like plasq’s upcoming Mac utility Skitch also catch on for this purpose.

Finding exotic software instruments is rarely a challenge. A lot of users stumble more quickly when it comes to the basics. Cakewalk has unveiled a new set of soft synths called Cakewalk Studio Instruments, and a number of things about it are immediately interesting:

It’s dirt cheap. US$49.99 for the whole package.

It focuses on a few basics. There are four modules: Drum Set, Bass Guitar, Electric Piano, or String Section.

It’s available via mass-market outlets. Music tech stuff only trickles into the mass market, as a rule. Cakewalk says you’ll be able to pick this thing up at Apple, CompUSA, Fry’s, Micro Center, J&R, and Amazon.com.

It does phrases. There are included, pre-recorded phrases. Might be redundant in the age of GarageBand, but potentially useful to have.

It has a slick interface. The UI is pretty, provides lots of visual feedback (the bows on the strings even move), and puts controls where you’d expect them in the real world — so electric piano effects show up on a stompbox, for instance, rather than floating in softwareland.

Cakewalk Studio Instruments
Compatibility: Windows VST; Mac AU; Windows/Mac standalone
Platform: Windows XP/Vista/Vista x64, OS X 10.4.9, Mac Universal Binary

The idea isn’t new: Native Instruments had its “Xpress” line of lighter-weight instruments (including electric pianos), and M-Audio had similar selections like Key Rig. But the execution looks nice, especially for beginners. My only question is whether someone will want specifically electric piano, drum set, bass, and acoustic string but not other things — especially if they already have a decent instrument preset library and loops in something like GarageBand. And, while you won’t get the slick interfaces, spending a little more money may get you a deeper, richer sound set, even from Cakewalk. But for the beginner market at which it’s targeted, it’s certainly worth a look. I hope to try it once it ships.

The “trailer” doesn’t reveal much, but you can see the UI animation. This is definitely the opposite end of the spectrum as, say, the minimalism in Ableton Live’s interface, or the alien spacecraft controls of Logic Pro.

In other news: Cakewalk is definitely expanding its portfolio as a soft synth shop, much as Digidesign has done recently on the Pro Tools side (difference being Cakewalk’s stuff runs with other software).

Winning the award this month for “Most Insane Project Mockup”, I give you the Plattabass. It’s a bass. It’s a record player. It has magnetic sensors embedded in the neck. And yes, that is a crossfader. Even crazier: Mobius (Ray Belden) plans to actually build this thing. We’ll be watching.

Proposed specs, courtesy Ray:

1. 2 assignable cross faders, an extreme pitch control that goes to zero RMP, a thumb worn magnet that triggers a sensor inlaid in the back of the neck
2. Three control knobs, and 2 TRS stereo outputs
3. Fender P bass neck, Basslines 1/4 pound pickups, and Fender flat-wound strings
4. Technics 1200 motor, plater , and controls
5. The experimental, spring loaded ,3 pole, zero drag stylus cartridge caddy / Bas string bridge, will be a one off custom piece of metal work
6. I will need a dsp unit that has a phono preamp built in, I was thinking I could cannibalize a Rane TTM-56

What, no built-in refrigerator for the brewskis? Can’t really see the purpose, then.

For those of you who are unbelievers, Ray says he is photographing work on a prototype as he builds it. Hopefully we’ll have photographic evidence soon.

Believe it or not, though, this isn’t the strangest project we’ve seen yet involving Ms. Pinky, the brilliant-yet-affordable control vinyl system (see CDM Ms. Pinky tag). It’s only right that it’d get built into a bass having already been used inside tree trunks and powering vibrating chaise lounges. Got an unusual Pinky project of your own? Do let us know.

Thanks, Ray and Wallace! (Close-up image after the jump.)

Tone Research Expansion Packs for Ableton Live

Here’s what the creator has to say:

Frost: Frozen Ambiance
Frost features 50 beautiful ambient device groups for your Simpler. Lots of deep, evolving pads and atmospheres sprinkled with other assorted gems to add seriously lush drama to any track, all with an icy vibe. Frost is sourced from some great hardware synths and recorded direct to 24 bit audio. Each and every patch is crafted and designed specifically for Live 5, and just wait till you here these sounds stacked up in the upcoming Live 6 “Racks”! Seriously Amazing.

Fatso: Artery Clogging Bass
Fatso features 50 big bass device groups for your Simpler. Recorded at 24 bit direct from a handful of analog classics, these patches are heavy, hard and high in FAT. We’ve preserved the sounds of the original hardware filters throughout much of the collection to seal in the analog juices. These basses simply scream, so watch your speakers.

In other news: mmmmm, french fries. Is it my lunch break? (And yes, we’re allowed to call them french fries, not freedom fries again, even here in America. I just dub them “that which is delicious.”)