The evolution of what we now call “DJing” is inseparable from the turntables and mixer. So, what happens when you enter the digital domain and you really don’t need to refer to either device? Many digital DJ controllers have simply mimicked those previous inventions, with virtual tables and a mixer-style layout. To some extent, they must, not only for familiarity but to even make it possible to perform the kind of tasks DJs expect.

Then again, the computer, endless shapeshifter that it is, can do whatever you like. And so we’re beginning to see mass-market controllers marketed at DJs – not just the laptop performer, but DJs and DJ software – that goes in new directions.

Novation Twitch is one such effort. New Yorker Abe Duque takes up the Road Test series for Dubspot. I rather enjoy the lo-fi video as he flies New York to Munich; I could almost imagine the entire video being shot that way. (There you go, CDMers: I now have no excuse not to shoot some video tests for y’all on my smartphone.) And, uh, yeah, been there. Maybe the most ringing endorsement for the Twitch is how snugly it fits into the carry-on bag. I’m pretty sure that’s one of the superb UDG Gear line carrying both his laptop and Twitch.

Getting down to the actual review, Abe Duque – whatever impatient YouTubers may say in comments – does a fine job of coherently covering all of the features fairly and in detail.

Highlights:

• The Twitch is clearly set up to integrate with Serato, though there’s also a Traktor overlay. I’ll be eager to see how it works with Ableton Live, though, as the layout would seem to apply nicely to that.
• Having faders double as effects wet/dry controls is a clever twist, and reveals the intention of the Twitch to focus a DJ performance on mucking around with individual songs and not just queuing, beat matching, and mixing.
• The highlight is probably the slicing control, which uniquely couples the touch strip with pads.

You begin to see how a Twitch performance would come together, with two-deck slicing and dicing and effects controls. Of course, that could be accomplished with other means, but the Twitch embodies a lot of what we’ve seen in the DIY scene and homebrewed controllers, assembling a layout that conceptually reflects all of this track-mangling in the hardware’s physical form. In fact, it’s hard not to think that that scene influenced the Twitch.

This kind of track manipulation was common both with the Akai MPC and Ableton Live. Curiously, the design of the Akai APC40 for Live really doesn’t make that sort of performance very easy, focusing instead on clip launching and mixing.

In practice, Twitch looks promising. It does face a lot of competition. For Serato alone, there are various controller options, and Serato loyalists can expect this and other control surfaces to cater to their needs. The big entry we know is on the horizon is Native Instruments’ upcoming controller and software – something the company has already revealed in some detail prior to its official release. In fact, it’ll be tough to judge Twitch without having seen in person whatever NI has cooked up, as it appears their offering could focus even more closely on the sample triggering / looping notion, again within a DJ paradigm (Traktor).

DIYers, many carrying the banner of “controllerist,” have been pushing DJing in this direction for some time, and back to its original roots, DJing has embraced more inventive ways of really transforming tracks and not just playing them. Now, as those ideas seep into the mainstream, we’ll see if the line between DJing in the sense of playing tracks – and live performance, more as you’d expect in the instrumental vein – continues to blur.
Dubspot Lab Report: Novation TWITCH DJ Controller – Road Test w/ Abe Duque

Oh, yeah, and for something completely different DJ controller-wise, see Dubspot’s take on the compact Allen & Heath Xone: K2.

In an explosion of color, buttons, keys, velcro, and fur, and coupled with a cyborg-chic eyepiece, the VoltAxe is controllerism gone Mad Max, a post-acocalyptic keytar bred from salvaged parts. And if you want to make a unique construction of your own, creator Julie Covello – aka New York’s DJ Shakey – is willing to tell all her secrets, as well as why this was important to her music.

In modeling (the basement hobby variety, not the skinny fashionista one), “kitbashing” is the act of combining bits of multiple kits to produce one finished whole. Some custom new controllers are following a similar route, taking the best bits of, say, a keyboard and a Novation Launchpad, and going a bit nuts. Julie’s work deserves special mention not only because it takes that technique to an extreme, but it couples it with a heads-up, hands-free video display to keep feedback from the computer visible without being a distraction.

Julie tells us all the details:

The VoltAxe controller was created as part of my artist-in-residency at the Clocktower Gallery in New York City, made possible with support from the Jerome Foundation. I named my residency “Dj Shakey’s Audio Control Adventure” and wrote a pseudo-blog on Facebook.

To me, exploring Controllerism means trying to make my performance easier, more creative, and more dynamic. I did quite a bit of general research during this project, but with the performance controller, I focused on making a system that allowed me to walk around, not look at the controller, not look at my laptop (remove the barrier between
me and the audience and / or my bandmates), and have maximum flexibility and spontaneity with the sounds I was manipulating.

I had about 5 weeks to work, and I wanted a finished product that I could perform with, so I followed up on simpler solutions and left the hardcore hacking and studying for another time. I was also planning a huge finale party with 23 music and projection artists performing in multiple rooms, so that was on my plate as well.

Here’s a description of the final controller system…
I use Ableton Live — the way I perform, I want to see the laptop screen so I can pick clips at random to suit my mood. I don’t want to memorize my set and I don’t want to stare at my laptop screen either, so the solution was creating an eyepiece that shows my laptop screen within it. To build this I got help from VJ DoctorMojo aka Mark Alan
Johnson of Mojo Video Tech, Inc.. We experimented with a number of hacks, repurposing components extracted from the viewfinders of old camcorders. These experiments yeilded a number of functional miniature low-voltage displays, however these units were all black-and-white and a color image was what I needed. Very long story short, the final solution was to buy a pair of Vuzix
personal video glasses (US$250), flip them upside down and attach ONE screen to a regular pair of glasses so that only one of my eyes is looking at the screen and the other eye is looking out into the world. What I see with both eyes open is my laptop screen floating in the air on top of what I normally see. It’s amazing how easy this is to use!

There was more to do to make this work:
1. I had to run the output of my computer to a scan converter ($100) about the size of a cigarette pack and then run a wire to the little box that manages the glasses, adapters and cables were required.

2. I had to power the glasses, so that meant making the power cable about 10 feet longer so it could be plugged in while I walked around.

3. The image in the glasses was upside-down, since the unit was mounted upside-down (to avoid my nose!), so I rotated it 180 degrees via my Mac OS preferences.

4. The cursor size was too small, so I enlarged it with the Mac’s “Universal Access” preferences.

5. The image of my laptop screen was pretty low resolution, so low that I couldnt read any of the clip names, I referred to the Universal Access preferences to determine key commands for zoom in and zoom out and then programmed
my mouse keys to do the shortcut keys for these functions. Zoom out and I can see levels and stuff; zoom in and I can read type. I also fooled around with the screen resolution so it would be as clear as possible.

Speaking of the mouse, I did more research on the mouse than anything else! I wanted to attach it to my controller, which I was planning on hanging over my shoulders like a keytar. It had to have basic mouse functions AND I wanted buttons that could be programmed to do a series of keystrokes with one touch. There were some pretty cool mice on websites for the handicapped, but they were either absurdly expensive or they didn’t have all the functionality I wanted. I ended up using the one I had on my desk, the Kensington Expert Pro Turbo Trackball. I’ve had several over the years and I love them. They don’t make them any more, so they are hard to get and costly. (US$150 – 300) Also, the trackball is not secured in the socket. I basically just duct-taped this to my controller backing, and secured the trackball (with help from Mojo) with a piece of silver solder and a rubber band so it could move freely but securely. The mouse comes with programming software and I programmed the buttons to do — whatever I wanted!

The controller backing is 3/4 foam board ($5). I need this thing to be light! It is solid and doesn’t flex at all. I attached a number of controllers to this backing, a Novation Launchpad (triggering clips, punching clips in and out), Korg nanoPAD 2 (fx, samples), Korg nanoKONTROL 2 (mixing, fx), and two Vmeters (fx). I also messed around with a Keith McMillen Softstep foot controller which I like a lot and am still incorporating into the set-up. All of these run into a “Plugable”[-brand] 10-input powered USB hub on the back of the unit. I had to add a 12-foot usb extension to reach my laptop, as well as extending the power brick cable. All these long cables were bound into a single cable sleeve running to the laptop and power strip.

In an effort to use the controllers without looking at them, I added textures to many of the keys so I could find them by touch (velcro, rubber, fur). I covered up the keys that I had no plan to use so I wouldn’t hit them by accident. I divided the Launchpad up into 4×4 quandrants with miniature wire and ductape ridges. I’m still adapting to this set-up.

After the whole thing was put together, I hung it from a strap I grabbed off a gear case I had in the room. It took some trial and error to determine where to place the ends of the straps on the controller so that it would hang properly and my hands reached all the controls comfortably. I spent some time with the prototype attaching and re-attaching items until everything was in the right place before cutting out the foam board into the final shape. At this time, everything is attached with checkered duct tape from Home Depot; soon I will upgrade this to velcro (but keep the checkers as
decoration!).

The VoltAxe was ready to test play at midnight the day before the huge event where I was going to perform! Thanks to
Moldover and Mojo, who were with me doing ongoing troubleshooting, configuring went quickly and I was able to rehearse for a few hours and pull it together just in time! At the show, everything went as planned and I couldn’t have been happier – it was
so much fun! I can’t wait to evolve this set-up! My next move is to make it mobile and take it to the subway station to do some busking.

More information:
DJ Shakey : Clocktower Artist-In-Residency [as written up by the video whiz behind the project, Mojo]

Radio interview, talking DJing, “controllerism,” producing, and complete with remixes and original music from Shakey:
DJ Culture: DJ Shakey, The Illustrated Interview

If you like the project and want to see it developed more, you can also vote for it on Artists Wanted

Here’s a track with the controller in action:
Minor schwing by FreebassBK

Thanks, Julie!

One is a keytar. One is a master controller with touch faders and real MIDI and — control voltage, for working with analog gear. Seriously. The keyboard controller market may have faded into a dull, gray blur of nearly-identical models, but under the Alesis and Akai monikers, there’s some fresh-looking variety. Love it or hate it, these are not the same keyboards you’ll get from anybody else at the moment.

I got to meet with Alesis/Akai/Numark today at the NAMM Press Preview, get my hands on a prototype of their new Vortex keytar, and talk about what they’re doing. And I have to say, I’m impressed. (I didn’t get hands on the second model, the MAX49, but will visit their booth in the next couple of days.) Finally, we get the return of the MIDI DIN port for working with a wider range of hardware, without sacrificing USB. One model even does CV for analog equipment. And both can supply their own power so you can use them with iOS. And they at least are interesting enough to have an opinion about them – even if you hate them.

Here’s a look at each of them and what why they’ll be on our radar when they ship later this year.

Alesis Vortex Keytar

First off, let me say it, once and for all: I don’t think there’s anything dorky about a keytar, other than the name. Us keyboardists are plenty capable of being dorky on our own, but don’t blame the instrument.

What keytars are – or strap-on keyboards, if you can say that without smirking – is eminently practical for one-handed playing. For two-handed playing or more conventional piano or organ parts, of course, you’re better off without them. But the keytar lets you move around, play expressive solos, and also free up your hands if you’re using other machines, as in electronic music. Unfortunately, the options out there have been overly large, making them too unweildly for many people to play, and overly expensive, pricing them out of a lot of their market. I’ve played and advocated the Rock Band game controller because it’s lightweight, inexpensive, and nicely made, and it even has a MIDI jack. I actually hear one Harmonix veteran is now at Alesis, so that may be no coincidence. (The Vortex even has a touch strip on its neck.)

The Vortex, though, looks like the first really balanced keytar controller in the market … well, ever. Features:

• MIDI DIN and USB MIDI
• Velocity-sensitive pads in addition to the keys
• 37 velocity-sensitive keys (good number for a keytar), plus channel aftertouch (heck, yes)
• MIDI-assignable accelerometer. And this is cool – it’s not on all the time; you make a quick sweep of the neck to enable the accelerometer in a clever gesture control.
• MIDI-assignable touch strip, but also a full pitch bend wheel underneath your thumb (I rather prefer the latter, but it’s nice to have a choice).
• Assignable slider under your thumb, mapped by default to volume.
• Dedicated sustain button, plus octave selection, transport, and patch select.

With all due respect to Roland, this appears to fix effectively all of my complaints about the Roland keytars at a fraction of the price.

And you can add a strap via standard guitar strap pegs.

The best part:
Q2-2012
MSRP US$399
Estimated street US$249

http://www.alesis.com/vortex

Akai Pro MAX49: Touch Faders, CV

I’ve all but begged manufacturers to explore what an advanced or high-end MIDI controller would look like. The MAX49 likely won’t please everyone, but it’s one compelling-looking answer. Features:

• 49 semi-weighted keys, with channel aftertouch
• 12 MPC pads, backlit, four banks each
• 8 LED touch faders in place of physical faders, four banks each
• Control Voltage and analog Gate outputs for use with analog and vintage gear
• Arpeggiator with latch
• Step sequencer
• MPC swing, Note Repeat, Full Level, navigation – and yeah, I use this stuff, even if the software can do the same
  USB MIDI, MIDI DIN, connect to anything
• Control surface mappings plus full Mackie Control and HUI support – and, sorry, but for all the fancier solutions, sometimes that’s the easiest way to control a variety of software like Ableton Live, Reason, and the other DAWs

So, basically, all the features you want. My only questions are what it looks like in person and how the action feels, particularly those touch faders, as that can be tricky to pull off.

But the features are just perfect. It’s about time to bring back aftertouch and to connect with actual MIDI gear. Adding CV is a delicious addition. And honestly, features like being able to switch on an arpeggiator are far more useful and appealing to average musicians than the hard-to-configure, often-gimmicky automatic control features on many of the keyboards out there. So I’ve got my fingers crossed that the build quality and usability here are good — and that some of Akai’s rivals start taking on similar features. It’s bizarre to be applauding adding features from the 80s and 70s, but some recent progress has been steps backward, not forward.

Q2 2012
MSRP US$699
Estimated street $499

http://www.akaipro.com/max49

There are other new Alesis keyboards out this week, but the Akai MAX49 pretty much steals their thunder.

More Vortex Photos

Back to the Vortex, since I got to snap some shots this morning in Anaheim.

Discuss.

Guess who’s gotten really bad at keeping a lid on upcoming product announcements? The manufacturers.

We’re suddenly utterly awash with teasers. Yes, it seems from intentional leaks to advance campaigns, we’re now destined to see every significant new piece of music gear before we see it, cast in shadows and partial photos and more. Apparently, the folks doing publicity think that this will cause people on the Internet to talk about them. They’re … right, in fact. And with the biggest American trade show for music gear landing next week, we’re in a flood of stuff.

I would willfully ignore such things, but I think it’s worth a quick round-up just to remind ourselves which booths we should visit next week in Anaheim at NAMM. And amidst more predictable teasers, the other good news is, the synths just keep on coming and coming. Who would have thought it? 2012 could be the year of the synth – again. (Even with MIDI DIN, no less!)

CDM is proud to bring you all this news, last. (I made the coffee and everything, but then seemed not to actually post this stuff when it arrived.)

Let’s take a sneak peak.

The best teasers:

NI tipped me off to their new @Traktor feed. There, we see, curiously, something resembling the colored buttons on color-mod monomes. And that’s all I can see, but I’m told we’ll see more from NI soon. (Note that NI doesn’t have a NAMM booth, so I don’t necessarily expect a NAMM announcement.)

Oddly, after I made a reference to the StealthMountain account, I see that tweet reads “Sneak Peak.” I’m going to assume that either that was a cheeky attempt to attract the ire of snarky grammar-correcting Twitter bots after I made mention of them, or that I should shut up as a lot of 2012 will be about me utterly butchering the beautiful German language.

Ken MacBeth takes the wraps off his MicroMac on The Facebook. “Micro” for Ken means basically “normal size” for the rest of us – the guy designs Paul Bunyan-style modulars. The Micro looks nice, indeed, three oscillators, loads of CV, and a VCF, plus Ken hopes for portamento and glide. This is still a prototype, but we hope to catch it in person. Compare the earlier proto design, second from top (which I actually quite like – anyone else?):

French synth maker Eowave is definitely on my must-visit list, with not one but two compelling new synths. The Domino (top) is a little more in the meat-and-potatoes category, a lovely, minimal analog monosynth. Koma (second top) is a bit more modern-looking and different, combining an analog bassline synth with a push-button step sequencer.

Koma @ Eowave
Domino @ Eowave [rattle your floors with the sound that autoplays]

More has leaked out about the upcoming Casio XW-P1. And yeah, basically, it sounds like what we’re getting is a general-purpose workstation, more along the lines of what Roland and Yamaha offer than the personality of the beloved CZ series. (SonicState does the math, too – it’s been since 1988.) The bad news: it’s a big workstation keyboard rather than something a bit more unique. The good news: coming from Casio, I’ll bet we see some serious value pricing … and you can still get your CZ on via eBay.

SonicState quotes Keyboard:
“A Mono solo section with up to six oscillators: two virtual analog, two PCM, noise, and external audio. Poly section with wide variety of gig- ready sounds. Drawbar organ mode. Six-way HexTone multis. Nine-track step sequencer with dedicated drum track.”

We’ve also got more details on Akai’s second controller-plus-software combo offering, the MPC Studio. (Curiously, if it’s small enough to carry with you, it’s called “Studio.” If it’s so big, you have to leave it in your studio, it’s called “Renaissance.” Got it?) As with the MPC Renaissance, the big story here is that you get a “dumb” hardware controller that doesn’t produce sound, and the operation itself all happens on your computer via software, a la Native Instruments’ Maschine. Unlike NI, though, Akai doesn’t really have a track record to speak of in software, so the big variable is how well their software works.

The MPC Studio, meanwhile, looks far more luggable and is presumably more affordable than its nonetheless cool-looking, monster truck-style bigger sibling.

It does look very, very slim. Unfortunately, with all those buttons crammed on the right side, it looks like a remote control for a home theater. I’ll be interested to try it in person and see if that’s usable in real life.

http://www.akaiprompc.com/mpcstudio.php [yup - URL still looks like "Prom PC" to me]

I’m probably most intrigued by Livid’s latest controller, the CNTRL-R, made in collaboration with M-nus Records and Richie Hawtin. That collaboration is interesting just because of the amount of live parameter control Rich and company are doing live. And Livid and their booth-mates should have loads of good toys. Livid’s Peter Nyboer writes in comments:

We (Livid) are showing with Mode Machines at E1009. We’ll be previewing some eurorack MIDI+analog things that we’ve been working on, the CNTRL:R that ships next month, and all our other controllers and DIY parts. I will also stand in the acoustic center of all the electric guitars and attempt an air guitar performance mimicking all the simultaneous shredding.

http://lividinstruments.com/hardware_cntrlr.php

Nord has a new organ and a new drum module coming. Sweet. I’m holding out for a Nord Virginal.

“The drums of the future come from the past” is the tagline.

Or to put it another way, “The key to saving the future, can be found only in the past.” [1]

Or to put it another way, “The future is history.” [2]

Or to put it another way, “He will erase your past to protect your future.” [3]

Or to put it another way, “Fight the future.” [4]

Or to put it another way, “In the future, one man is the law.” [5]

Or to put it another way, “The people aboard Flight 35 are about to land 1,000 years from where they planned to.” [6, and I hope that doesn't happen during my Delta connection in Atlanta on the way to LA ... again]

If you want to hire me to do your next PR campaign – yes, conflict of interest, blah, blah – give me a call. Several commenters have said I’m a great shill. I think that’s a compliment.

Answers below.

[1] Star Trek IV: The Voyage Home.

[2] Twelve Monkeys.

[3] Eraser.

[4] X-Files: Fight the Future.

[5] Judge Dredd.

[6] Millenium.

Show of hands – how many of you got them all?

Also on our teaser tracker:
bodo notes:

Loads of new Eurorack by the likes of Pittsburgh Modular, WDM, Syntech, LZX, but the most eagerly awaited modules will probably be the Make Noise Oscillator (yay!) and Echophon (basically +pitchdelay http://soundhack.henfast.com/freeware/ in a Eurorack module)

We know Teenage Engineering is bringing something, and they win the award for most obscure teaser video. (TV dinner, suggests one reader.)

I look at 10 things I’m excited about at NAMM, though I think I may have to remove the one about “surprises.”

See you from Anaheim.

The MPC name and MPC legend are as big as ever. But the current products? Not so much. Let’s face it: Akai could use a bit of a renaissance. Users these days put just as much stock in the MPC as a concept, and the MPC hardware still attracts users, but other products are stealing Akai’s thunder (Ableton Live, Native Instruments Maschine), and the human faces beloved by users aren’t at Akai (from the hacked JJOS firmware to Roger Linn off working on the Dave Smith-released Tempest). And while it doesn’t have the same mass appeal, hardware from other makers – the Tempest or the Machinedrum and Octatrack – have more street cred these days. That isn’t to say Akai isn’t doing well, but ironically, most of the Akai users I run into these days are using the APC with Ableton, or a treasured MPC from some years back.

This week, we get a glimpse of Akai’s strategy for changing that. The surprise: all three products are controllers for software, not the all-in-one, integrated hardware that made the MPC famous.

To many, it may be more the sad end of an era than the beginning of a new one. With plenty of software tools on the market, Akai was in the eyes of a loyal user base the go-to name for integrated hardware. But we’ll see if the MPC can win over those same folks with greater flexibility, as an apparent concession to the reduced development cost and expanded capabilities of relying on a computer for horsepower.

The MPC Renaissance is a larger controller with integrated audio and MIDI interface. It has a “Vintage Mode” said to emulate the sound “character” of the MPC3000, MPC60, and other units. And it comes with a fold-up LED screen and backlit pads. But the actual sound generation relies on the computer; it’s an interactive controller. We’ve, of course, seen this notion before, in Native Instruments’ Maschine. Whether that direct comparison is ultimately fair or not, the popularity of Maschine and the fact that it came first will make such comparisons inevitable. The major difference in Akai’s approach is that this is a big controller, complete with vintage-style palm rests and loads of I/O. It’s a Cadillac Escalade to NI’s Volkswagen Jetta. And with that extra space, you get more controls, like a stunning 4×4 array of encoders with LEDs, as popularized on Akai’s APC.

And the hardware looks far more elaborate than what we’ve tended to see, even from Akai. It’s the first controller that seems like it’d look at home next to an original MPC.

I like that the controller won’t be mistaken for anything but an MPC. The big question is, is Akai any good at making software? The first screenshot isn’t exactly pulse-quickening, though it does have plug-in support out of the gate. I wouldn’t judge on a preview, but I’ll say this: I think the software will make or break this product, and that’s what I’ll be asking about when I visit Akai at NAMM in Anaheim.

The other two products are teased now and coming soon:
MPC Studio is a “slimline” controller. (Well, almost anything would be more slimline than the massive, wide-load Renaissance, so we’ll see what that means.)

MPC Fly is a controller for iPad 2. If you can get over the name and the latest leap on the iPad bandwagon, consider this – there’s some seriously major consumer appeal here, and of the three, the Fly is the one where Akai is first to market. That makes a big difference. I can see why they kept it for last, even if it may be the least appealing to MPC loyalists.

I’ll reserve judgment on any of this, as I have no idea who worked on these products at Akai, or what the quality will be. My concern is that the appeal of the MPC is really integrated hardware, and mixing the computer into the equation is something other products already do reasonably well – ironically, including Akai’s own APC coupled with Ableton. It seems a huge test for Akai going into this generation of music production.

Now, I’m willing to accept the possibility that this will be a flexible, functional approach. But first, I’ll just wait through what I imagine will be a hailstorm of angry MPC purists. After that settles down, we’ll finally see if Akai is, as they’re putting it, “changing the game” – or if they’re in the same league. What determines that may be just how much the game has changed already. (And from the Ableton side, it’ll be a big test of the partnership with Akai for integrating hardware and software.)

Video below, with some artists onboard already – AraabMUZIK, Sean C, and LV.

Product specs and full info will be available week after next, coinciding with the massive NAMM trade show in California. We’ll be there with Akai.

Early spec highlights – basically, think MPC-style sound samples and features, and lots of audio I/O, as the two things missing from most rivals:

MPC Note Repeat, MPC Swing and MPC transport controls
MPC software for Mac or PC with 64-track sequencing capability
Two XLR-1/4” combo inputs and dedicated turntable input
Four-channel USB 2.0 audio interface and two-port US B 2.0 hub built in
Up to eight pad banks
Two MIDI inputs and four MIDI outputs
Stereo 1/4” out, stereo assignable mix 1/4” out & S/PDIF I/O
MPC SOFTWARE
64-track sequencing capability
6GB+ sound library, including all of the sounds of the classic MPC3000
Instant mapping and real-time adjustment of VST plug-ins
Record each track as an MPC drum program, Keygroup program or VST plug-in
Runs standalone and as VST, AU or RTAS plug-in
Supports WAV, MP3, AIFF, REX and SND
Supports samples and sequences from any MPC ever made
Mac and PC-compatible

http://www.akaiprompc.com/
http://www.akaiprompc.com/mpcrenaissance.php

German boutique controller maker Faderfox was one of the first to build custom controllers for Ableton Live and Traktor. But amidst bigger-name offerings, the Faderfox devices still hold up. While other, more sprawling controllers struggle to squeeze into a booth, the Faderfox devices are ultra-compact, though still with enough room for your fingers. They also offer uniquely high-end controls and case, and sophisticated control options.

The latest, designed for Traktor – though it could easily be adapted to other DJ and VJ tools – is the DJ-friendly DS3. It really assumes a digital DJing workflow, focusing on triggering samples, loops, hotcues, and effects. (And, nicely enough, could be well-suited to DJs who want to go beyond just pressing play and mixing. We know you’re out there.)

Creator Mathias shares some of the features:

• Controls up to four decks – easy switching between deck A-B-C-D on the fly
• Supports track deck & sample deck mode with easy switching between the modes
• 4 multifunctional encoders – access to all FX and important deck + loop parameters by 6 group buttons
• Dedicated FX assign buttons for quick switching to the 4 FX busses
• Detailed control of all sample slot parameters by 4 encoders
• Browser section with encoder, view and favorite buttons (with additional tree navigation)
• Loop recorder section with encoder and two buttons (with additional copy function to any sample slots)
• 12 extra large buttons for sample trigger and hotcue access
• All controls with double function by holding down the shift button
• 31 LED’s and a 2-digit display to show various informations by feedback data from computer
• About 750 commands – all free to reassign

The only disadvantage I can think of, really, is that you have to toggle between the four decks – a tradeoff of the compact design. Of course, you could always buy more than one.

Here’s a look at the front panel, close up:

The Faderfox runs €250, including VAT (210 without). Unlike early models’ MIDI DIN and 9V battery, the units now simply connect – and receive power – via USB.

DS3 Product Page @ faderfox.de

Before the iPad, before the iPhone, and indeed before the masses understood touch interfaces would be a big deal, there was the Lemur. Dazzling people with high-contrast, colorful controls, this boutique hardware, priced well over €2000 and running embedded Linux and custom resistive touch technology, brought the future a bit early to a handful of musicians. Star Trek was what you heard most frequently – sweeping your fingers over black glass was nothing if not reminiscent of Geordi LaForge helming the Enterprise. (By the way, talk about prior art: those conceptual designers on The Next Generation, working initially with all-optical effects, were also well ahead of their time.)

Now, at last, Lemur arrives on the iPad, released by a leading iOS developer, Liine. Swept away by Apple’s more-affordable hardware, with the iPad offering a higher-resolution display, slimmer form factor, accurate touch sensing, and wireless capability, the Lemur hardware suddenly looked dated. With iPad software, it’s available to the masses.

http://liine.net/en/

The first question, of course: will anyone care – and will the Lemur software compete, with various other touch alternatives? At US$49.99 / €39.99 / £29.99 34.99, the Lemur app is far cheaper than a Lemur, but spendier than a lot of other touch software. [Ed.: An early press release incorrectly listed the UK pricing as £29.99. It's actually £34.99. Just don't ask us for currency conversions. -PK]

I’ve gotten to see the Lemur in action, and actually was walked through some interactive template ideas. (Unfortunately, I was unable to talk about that, and could only tease what I knew – I got to see more than I could talk about via folks working with Liine and M-nus Records’ stable of artists – Richie Hawtin and Ambivalent, in particular – and was really impressed.)

Just like other apps, the Lemur app will let you control any MIDI or OSC application on your computer from your iPad. But the Lemur brings a few strengths that I think will make it a contender in the iPad age:

Innovative controls: The Lemur’s array of controls is, simply, the largest and most comprehensive anywhere. And for those who want to push beyond just fake faders and knobs, it has an array of more unusual controls, with features like:

Physics: Simulated physics and dynamic movement were, to me, one of those most interesting features of the original Lemur. Whereas I’d almost always choose a physical fader or encoder over a touch equivalent, adding physics to touch allows the controller to play to its strengths.

Scripting: This is a big one. Right now, the only other tool capable of genuinely-dynamic, interactive scripts that modify the behavior of touch is the open source Control by Charlie Roberts. (That, to me, is probably the most compelling alternative, especially as it relies on familiar Web and JavaScript rendering, but it’ll need more input to be fully mature.)

Scripting on Lemur means you get dynamic templates that actually take advantage of the touchscreen. (Think back to Star Trek: mimicking that would require scripts. They use pages and interactive feedback all over the place.)

A mature editor: Now, here, I’m of a mixed mind. I still want a touch app that lets you edit right on the device – guess I’d better go make the one I want. But if you’re going to be editing templates on your Mac or PC, then the Windows/Mac Lemur editor is now tough to beat in sheer power. I was critical of early versions when I first reviewed the Lemur hardware, but it has evolved and matured since.

An installed User Library: This could well be the thing that puts Lemur for iPad over the top – and make no mistake, it’s the biggest obstacle to any newcomer in touch. The Lemur simply has a whole bunch of templates, ready to go, many of them really sophisticated.

The competition: I imagine TouchOSC will continue to dominate the market for touch apps, though interestingly, for many of the same reasons. It has an installed user base and templates, it has a graphical editor that runs on Mac and Windows that people find reasonably easy to use, good documentation and community, and it covers a lot of needs. TouchOSC’s low price also ensures it has nothing to worry about from Lemur, but the Lemur app will appeal to people with more advanced needs, and I think it’ll be a big hit.

Also unique about the iPad: because US$50 is considered “expensive,” it’s really not a zero sum game. You could buy all of the major touch apps for your iPad, assuming you own one, and still be short of the cost of one plastic keyboard.

As for Android? Look, technically, I’m sure you could port Lemur to Android. The fact that they’re not launching with Android support is no surprise – but the problems with Google’s installed base and market and their inability to get OS updates out on devices is a subject for another post. (Preferably one that involves me writing surrounded by candles in a warm salt bath so my blood pressure doesn’t explode.)

Video: How use Lemur + WiFi

Video: How to use OSC and Lemur

Video: How to use Lemur with USB MIDI

Summary:

- Connect the USB Cable to the iConnect MIDI or similar device.
- Open a factory template in the Lemur.
- Open the settings tab and assign the MIDI Ports

http://liine.net/en/products/lemur/

Postlude: What about Existing Lemur Users

Since it’s a matter of some confusion, I asked Liine to clarify their relationship with JazzMutant (now Stantum), the developer of Lemur, and why existing Lemur owners should spend some cash to upgrade. There’s a half-off deal through the beginning of January if you owned the Lemur hardware, but some Lemur owners understandably feel a bit left out, having invested massive amounts of time and money in the now-abandoned hardware platform. On the other hand, even $50 seems to me not unreasonable for updating to the new software, even if a free release for Lemur early adopters may have been nice. I have yet to test it myself, but I imagine I would have no problem recommending the Lemur app to anyone who owns a Lemur and an iPad, certainly if they’ve nailed the software release.

Updated:

CDM: What is the relationship of Liine to JazzMutant/Stantum?

Liine: Members of Liine have a historic relationship with JazzMutant/Stantum. Richie Hawtin and Gareth Williams were very early adopters of the Lemur and have worked closely with them for years. Nick and Gareth also worked alongside Max guru Mathieu Chamagne on the Mu Ableton Live controller for the Lemur. Axel is the former lead developer at JazzMutant who were are very proud to have on board with us for this venture.

In short, Liine is a young independent company, not affiliated with JazzMutant/Stantum, but with a friendship and working relationship going back many years. We are very proud to be contributing to the future of such a revolutionary controller.

CDM: Why not give Lemur for iPad to existing owners for free?

Liine: It costs time, money and resources for Liine to move Lemur to a new platform and relaunch it. In addition, distributing any product always involves costs. Offering a full rebate of the app price is simply non-viable, we would lose money. The initial release of Lemur on iPad is only the first chapter in this second life of the Lemur. Liine is taking JazzMutant’s code and concept into the future, you are going to see a lot of exciting developments (in-app editing, new objects, streamlined workflows…). This will, of course, continue to cost Liine time and money – the small contribution from legacy owners will help ensure the future of their investment in the original machine. Their early support allowed for many updates of the original software. For this, Liine are hugely appreciative as it means that the product we’re able to bring you is the most mature and powerful solution out there. This is why we want to thank those owners by offering them a 50% rebate. We very much appreciate your support.

What do you do if you can’t find an instrument that you can play the way you want? In the digital domain, you can just invent one.

So, when Brooklyn-based artist Nick Demopoulos wanted a controller that’d allow him to articulate digital instruments more like a guitar and less like a keyboard, he built his own expressive touch controller. It uses arrays of touch-sensing strips on a guitar body. A future version, he says, will incorporate 6 “strings” (touch strips).

New York-based literary/culture quarterly BOMB Magazine shot a video in which Nick walks through his creation.

Nick has also played our Handmade Music series in New York, at Culturefix. (See documentation of that event, from 2010.)

Videos of Nick playing:
http://www.youtube.com/user/nicnut210?feature=mhee

Lots of stuff on SoundCloud, too; I enjoy the rhythms in this one:

Whispers in the Water by Nick Demopoulos

http://soundcloud.com/nickdemopoulos

It occurs to me looking at this, too, that if you could improve the sensing accuracy and physical feedback from the touch strip, you could radically improve the instrument. It’s really the quality of these kinds of sensors that will have the biggest impact on future instruments – that is, the fundamental ideas about these controllers are out there, and now implementation means everything.

Thanks for sharing your work, Nick!

“Folk music of the 21st Century” – radio broadcaster, jazz aficionado, and jazz-based Ableton Live instrumentalist / remix artist Nick Francis really sums up what this whole site is about. As he chops up jazz greats in Ableton, his mash-up music chops are as much musical analysis as they are performance. He walks through his controller moves in a pedagogical way, highlighting the meat of the jazz legends he puts into play. It’s a kind of digital transcription, transcribing re-imagined for Ableton’s colored blocks in place of.

Of course, you’ll only be able to reflect on this once you can take your eyes off that stunning wooden controller, which has the look of a decades-old instrument. Kraftwerk in their early days would have chuckled at the polished-wooden nostalgia, but here, it’s about care as much as memory – and Nick is a fan of Kraftwerk, DJ Shadow, and others. None other than Matt Moldover inspired all of this. (I look forward to catching up with Matt in California next month.)

We first saw Nick in May:
A Controller Love Supreme: Beautifully-Crafted Wooden Jazz Controller with Ableton Live [tons more detail there]

Our friends over at Dubspot have an extensive, illustrated video series on interviews. You can tell they didn’t have to edit too much here, that Nick just kept talking and saying great things.

The Choppertone: Custom MIDI Controller for Ableton Live – Nick Francis Video Interview [Dubspot Blog]

But seeing electronic music with Nick’s self-described “vintage fetish” – from the RCA-chic swirled woodgrain to the great old standards – is a joy. And if you can’t get enough of Nick, you can go listen to his radio show, too.

Quiet Music
Nick Francis @ KPLU (Seattle)

Flip that YouTube into 720p to hear the sound properly – yes, even in this modern age, the default setting is a bit lacking in warmth.

There’s also a second part of the video with a performance of “Canto de Wonderwall.” (Not visible in Germany due to licensing issues.)

Click here to view the embedded video.

Between conventional knobs and hardware controls and “magical” tablets, might we yet see real action in a third category of controller? Keith McMillen Instruments, makers of the SoftStep foot controller and K-Bow controller, are now venturing into fingertip territory. The QuNeo is a “crowd-sourced” project with apparently some open components, available now in preorder form on Kickstarter.

We’ve seen touch controllers that, in terms of basic form factor, followed similar design directions as the QuNeo but that didn’t take off. M-Audio (then Midiman) got only as far as the prototype phase with the Surface One; Stanton’s SCS series went into production but apparently didn’t take to the market.

The KMI design promises more, with velocity response, continuous pressure, and color LED feedback on each sensor. The addition of actual pressure/velocity sensing, and a design that gives you some tactile feedback on where the controls are, would set it apart from a device like the iPad, which has no such usable pressure response and an undifferentiated surface.

The controls themselves:

• 251 multi-color LEDs
• 16 square pads each with X/Y, velocity, and continuous pressure (that should map nicely to rolls, etc., or using them as melodic pads)
• 2 rotary surfaces with position and pressure
• 9 touch sliders, with two-finger touch
• Switches
• iPad-sized form factor
• Class-compliant USB, MIDI, OSC connection

The project is labeled “open hardware” and “open source,” but as near as I can tell, that applies to the development kit for the software to connect with the hardware, not the rest of the hardware itself.

Check out the hardware sensors below.

Kickstarter here serves as a way of “crowd-sourcing” production – just the kind of preorder model for which the service was built. What I find surprising is the promised price: $200 (not including international shipping) includes the controller and some goodies, which seems astounding given the number of parts here. If they really are pulling that off, I’m very impressed.

Right now, we see only the sensor and a mock-up, but certainly the described design shows some significant promise. We’re in touch with KMI, so if you’ve got questions, fire away.

QuNeo, Multi-touch Open Source MIDI & USB Pad Controller [Kickstarter]
http://www.keithmcmillen.com/