I thought the promo video from Elektron perfectly explained, in practical terms, how their recent Octatrack sampler works. You plug it in, push some buttons, turn samples into techno, and then everyone turns into squids and dies. (Hmmm… that does suggest something perhaps a future firmware update might want to address.) But it seems some readers wanted more than sci-fi short films and inscrutable jams – they want to know how this beast actually works.

Happily, reader Genjutsushi has obliged us with a video that explains its functions; see top — it’s shaky, but useful, and no squid are in sight.

Matrixsynth also picks up on a couple of videos that show how to use the Octatrack’s flagship feature, its powerful slicing functions.

Not all users are happy, as evidenced by our comments. A friend of mine had an Octatrack fail on him within hours of it arriving, though to Elektron’s credit, they’re sending a replacement. Other users are apparently not satisfied with the reliability or functionality of the current firmware. Now, all user complaints should be taken with a grain of salt, but just so you’re aware, yes, I do read comments and forums when I can. We’ll see if the Octatrack catches on, and satisfies users, as it evolves. I have to say, it’s a terrifically ambitious and promising project, and at least some users are very enthusiastic. I look forward to getting some sounds out of it myself if I can beg, borrow, or steal some loan time, and continuing to hear feedback from users.

More videos:

Updated: Synthtopia has its own round-up.

Doubly updated: genjutsushi adds another video, now with 100% more tripod!

Elektron’s Octatrack sampler is shipping to producer’s hands, bringing this multitrack, time-stretching, step-sequenced, modulation-packing digital sampling hardware to real-world music-making. The results make comparisons like “Ableton in a box” seem pretty fair – and give you more an idea of what the thing does than Elektron’s bizarre (and wonderful) short science fiction film, which seemed to suggest the box would incite revolutions and make you grow tentacles and change into a tortured alien. (See below)

Two of the people I’d most want to see work the device are featured in the videos above – at top, Richard Devine, and at bottom, Matthew Dear. Devine, for his part, makes use of re-triggering features:

Just triggering single shot samples of nord percussion and analogue drum sounds. Using the three stages of LFO’s for each track to control effects animation and various other parameters. Making some use of the re-trigger sample functions spanned across 4 patterns.

Matthew Dear plays live on a New York public radio station program, Beats In Space on WNYU 89.1FM. (Listen to the whole show.)

It’s a story focused on the drum sample library, not the Octatrack, but there’s also a good example of how far you can stretch a single samples in Surachai’s recent hands-on for TRASH_AUDIO.

Elektron have also in the last couple of months shared sound samples via their very, very active SoundCloud account; examples below.

Octatrack DPS-1 Site Sounds by Elektron

Octatrack DPS-1 | Sampling by Elektron

So, what’s really going on inside the Octatrack? That to me is the interesting element of the design. As Roger Linn and Dave Smith focus on analog synthesis and no digital sampling (at least in Dave’s machine) on the Tempest, the Octatrack takes digital features previous seen in software workflows and builds an integrated hardware design around them.

The heart and soul is an 8-track sequencer, with multiple patterns, arrangements, parts, and scenes for putting together a full performance (or performance set), which connects to “machines” for sample playback or external input machines. The combination of those basic modules is where things get a little crazy, with re-triggering, chaining of tracks, and the like, and Elektron promises to add more in future OS updates.

The other side of the machine is a whole heck of a lot of effects: multi-mode filter, parametric and DJ-style EQs, phaser, flanger, chorus, delay with repeat, plate reverb, compressor, and lo-fi distortion.

The most ingenious addition is a single optical crossfader, which allows DJ-style moves amidst all these digital layers, ideal for making sense of live performance.

Live sampling is a big draw; one of the better walkthroughs of how that works is in this video by darenager (who stresses this is not a musical performance, but a demo – I can appreciate that):

Elektron isn’t assuming you’re going to toss your computer in a bin; there’s a USB2 port for connecting to a computer workflow. But it occurs to me that the likely retort of dedicated computer users – that they can do all this and more – is likely the reason others will choose to use this device. It does less, but focuses entirely on what you might want to do most.

I could go further with that, but I suspect we’ll carry on with this balancing act between digital hardware and software until the last human consumes the last flicker of electricity on earth, so, uh, fill in a zillion already-hashed-out debates here. In fact, let’s imagine them all at once, as a mysterious buzzing sound.

Bzzzz.

There. Done.

But yes, at the same time as someone who’s reconfiguring my own live software rig, you have to admit that which features they chose – and how you see them mapped to hardware above – is interesting even if you can’t afford a new don’t want to buy a new Octatrack.

Mostly what makes me happy is knowing that this machine is making other people happy, and then in turn will make some of them make very good music and performances that I get to enjoy.

And yes, I really do love the bizarre short movie Elektron created to promote their device. It’s nothing if not creative.

What do you make of this new design?

In particular, I’d love to hear from those of you who just got new machines. How are you using it musically so far?

Also, if you’re in Sweden, can you tell me what’s in your water that makes you engineer all this insane stuff? Should I wish I had the benefit of your education system? Should I just eat more herring? Both? Or will the herring, at least, make me regret less that I’m not a product of your education system?

The Octatrack is an ambitious piece of hardware, combining multitrack sampling and playback with real-time audio warping. We didn’t get a good look at it earlier this week, but the folks at Gear4Music went back to get a more complete walkthrough with Elektron’s Jon. It’s followed by a proper live set – and it sounds fantastic. In fact, it embodies the quality I described earlier this week of Sweden’s other highly-anticipated gear, the Teenage OP-1: it becomes an instrument you’d want to practice.

Jon also elaborates on the features of the Octatrack. Talking points:

• Automatic time stretching means samples can sync automatically if you so desire – certainly part of what helps earn this Ableton comparisons, and something that should be great live.
• The ability to accommodate big samples can make this a machine for playing backing tracks, with clips of ten minutes in length well within reason.
• You can manipulate steps individually, adjusting parameters like pitch or filtering for creative effects.

It looks terrific, and even if you don’t have the budget to set aside (yeah, I feel you), it’s a great indication of where some of these techniques are going. More details on the Gear4Music blog:
Musikmesse 2010: Elektron reveal full Octatrack details

Previously (including more specs):
Elektron Unveils Octatrack Sampler-Sequencer-Warper, Expands and Discounts Machinedrum

Elektron, those Swedish makers of the fabulously-beloved Machinedrum drum machine, have a range of new announcements this morning. They herald the power and appeal of digital hardware, gear made for people who have grown up with computer.

The biggest news, of course, is the announcement of the Octatrack. Coming later this year, but shown in prototype form this week at the Frankfurt Messe show, the Octatrack is a multitrack digital sampler with onboard sequencer, real-time pitch shift and time stretch, and effects. That has caused some to get excited enough to dub it “Ableton in a box,” and it’s hard not to see a certain Ableton-esque quality to the design. Whereas Live seems to grow more complex, however, this reduces what you need to an efficient set of hardware controls and the most essential features.

The specs:

• 8 audio tracks
• 4 audio ins, 4 audio outs plus headphone out
• USB 2.0, CF reader
• Optical fader
• 2 effect blocks per track

You can bring in samples via the USB connection, the CF slot, or live recording. And Elektron has some intriguing words about what this is for:

The Octatrack is an elegant sampler. Recording of sounds is a breeze thanks to the intuitive user interface, but the fun really starts once the samples are inside the machine. Loops are now completely elastic. They will always stay in sync no matter if they are pitch shifted or if the tempo of the sequencer is changed. Single sounds can be molded into any shape or form. The static nature of samples are finally a thing of the past.

Gear4music.com has the best video so far:

It’s not hard to imagine a few of these sitting alongside Machinedrums, especially for Elektron’s devoted fans. It also strikes me that, in some ways, this is the antithesis of Teenage Engineering’s OP-1. Sure, both are made by Swedes, and indeed, the OP-1 team shares some Elektron lineage. But the Octatrack is the workstation to the OP-1′s minimalist instrument. I also have a strong suspicion the OP-1 will be significantly cheaper. I can’t wait to see both, and, while the Teenage Engineers aren’t saying, I wouldn’t be surprised if the OP-1 ships around the same late 2010 timeframe. I’d better book a trip to Sweden now.

Personally, I have to admit a certain affinity for letting my computer be my computer and not having the hardware try to do everything. I wonder if the battle with feature creep will be an issue – hardware very easily does too much to be simple to use, but too little to be a computer replacement – part of what I suspect killed the original form of the currently-vaporware LinnDrum II. It’ll be fascinating to watch all of this pan out.

What about Machinedrum owners who aren’t necessarily ready to take the Octatrack leap? There’s news for you, too.

First, if you’re looking to invest in the Machinedrum, there’s an SPS-1 price cut. I wouldn’t quite describe it as a Recession Special, but you do get the latest SPS-1 MKII for EUR 990 / USD 1290.

There’s also a new upgrade for the Machinedrum called +Drive, available for all Machinedrum and Monomachine models and pre-installed on new SPS-1UW+ MKIIs and SFX-60+MKIIs.

I’ll copy and paste text here, especially since you may have difficulty reaching Elektron’s site.

The +Drive divides a machine in 128 Snapshots, which allows for thousands of patterns, sounds and songs to be stored internally and more or less instantly recalled. The +Drive also makes it possible for the Machinedrum SPS-1UW+ MKII to host over 6000 ROM samples. The Monomachine SFX-60+ MKII can be loaded with more than 8000 DigiPro user waveforms.

A Machinedrum Snapshot can contain up to 128 patterns, 64 kits, 32 songs and 8 globals. If the Machinedrum is a UW model, each Snapshot also contains a sample bank. A UW MKII sample bank consists of 48 ROM sample slots. A UW MKI sample bank consists of 32 ROM sample slots.

A Monomachine Snapshot can contain up to 128 patterns, 128 kits, 24 songs and 8 globals. In the case of the Monomachine MKII, a Snapshot also contains a Digibank consisting of 64 DigiPro user waveforms.

Either load a completely new Snapshot or a single Machinedrum sample bank/Monomachine Digibank. When loading a new Snapshot, all data will replaced by new content. Loading a new sample bank/Digibank means all other content of the current Snapshot stays intact. Load times for both options are just a few seconds.

The +Drive gives the enormous advantage of having thousands of patterns and kits available. Change Snapshots during a live performance for a completely new session. Load a fresh Machinedrum sample bank or Monomachine Digibank and experiment with new sounds in your currently active patterns and kits. A +Drive opens up a world of new possibilities.

All Machinedrum and Monomachine models are possible to upgrade with a +Drive. When you buy a +Drive, you will receive detailed instructions how to send in the unit for the upgrade. Shipping back to you after the upgrade has been carried out is included in the price.

If you have bought a new Machinedrum UW/Monomachine after Feb 1st, you are eligible for a 30% discount on the +Drive upgrade price. This offer is valid until August 1. Mail us for more info about how to obtain the discount.

Thanks to Malte Steiner and his blog4 for the tip; Malte sounds enthusiastic about the upgrade. Check out his lovely blog:
http://elektronengehirn.blogspot.com/

The site is up and down as I write this, but if you want to try your luck:
http://www.elektron.se/

Elektron describes the set of upgrades as a “new chapter in the history of our company,” a “reborn Elektron,” and “The New Dawn,” but music tech companies seem to say those sorts of things regularly. I’ll let you judge whether the Octatrack is a new dawn for you.

For another video of the Octatrack, here’s MusicRadar:

With Germany’s Messe trade show just a week away, buzz is pretty well focused on Swedish boutique machine maker Elektron, that beloved manufacturer of the Machinedrum. They’re about to launch something, and it’s a product with “octa” in the name, but that’s about all that’s known. Of course, that hasn’t stopped the Elektron fanbase from getting well worked up in an increasingly hilarious set of message threads. (Bless you, fora.)

First, the rampant speculation:
Are we expecting a new Elektron product at Musikmesse?

User Atiko, however, notes in a video of Elektron assembly a button labeled “Octatrack.” (That’s “button” as in “the kind you wear on your shirt at Messe.”)

http://vimeo.com/9879569

That in turn leads to another crazy thread:
Re:Mistery [sic] OCTATRACK: new from Elektron?

Elektron, for their part, hints at the upcoming launch with the text: “SPECIAL ANNOUNCEMENT: THE OCTASHARK BITES” in the corner of their site. (Octashark?) They’ve also emblazoned their site with a Messe banner that reads, in text that suggests they’re about to release a prog rock album, “The New Dawn.”

Konkrete predicts this site will somehow enter the fray. What to do… do I fulfill the prophecy?

what I’m hoping for is a XXXCSHDRRT but we’re probably going to get a FFFRPPPI!!ING and then everyone who was right will be like ZZZWWWAARRW and all thoze who were wrong will be like OH ACTUALLY I’M REALLY DISAPPOINTED. Then there’ll be lots of BWWAWAWAWAWA maybe even on peter kirn’s ‘ELECTRONIC CABBAGE SPROGGIT PSEUD’S CORNER’ where the ‘a new butter based USB massage enables DIY multiple dorkgasms’ hook will lead into many a DEEP PENETRATIVE INSIGHT into the Oktospastik Cyclotron everyone’s all be waiting for and lathered up about. BUT I WANTED A FSFSSRRRGGRLL, and I’ve been saying that since 2004 when the first… they moan nonetheless. Then someone will complain that it’s too expensive and that anyway therez a plug wot can do all that anyway like. Cue nuclear flame festival and rotten tomato in the stocks hurling, bunion scraping, cheese rolling, caber tossing, frollicking Glastonbury mud orgy of a thread while we all save up the quids for DA TING with its 8 TRAXX of SEXX, which we can’t really justify to the better halves anyway cos it’s just a BOX THAT SEZ “MOOO!” (albeit repetitively), and it seems that there’s no way that that could possibly be worth more than a hair sandwich, EVEN if it’s set off in glorious brushed aluminium, COMEZ WITH STICKAZ and says moo REALLY LOUDLY when plugged into those expensive expansive high end tweeters in our sound proofed cave. But one thing is for certain. When we have TURBO MIDI, there ain’t gonna be no USB, especially not without no stinking Sepia Officinalis CONNEXION, dig?

Thanks, Konkrete. I’m … uh … flattered?

elektron.se

Drum machine lovers, you now have the beat gear equivalent of Matt Harding and Where the Hell is Matt?. Kamoni, aka sonic creator, composer, and experimenter Micah Frank, takes his favorite devices out on the road, piecing them together into an epic YouTubular jam.

Doepfer and Korg, Elektron and Akai, plus a lot of other devices make their way around New York and Brooklyn and other parts of the world. Ableton I think figured into editing the video clips in time — thank you, Live, for video. I could point out individual devices, but then I’d ruin your fun, wouldn’t I?

Of course, this could be both emulated and expanded. We could perform a single rhythm, played by MPC and Machinedrum owners around the planet. (You could even get that laptop running on battery.)

I can see it now. Internets, go!

And yes, this does demonstrate where puremagnetik gets all those beats for their line of sampled things. Micah gets his hands on a lot of gear.

Updated: Replaced with a Vimeo link. Google seems to be having a bad week. We like Vimeo better for videos, anyway.

If you could have an ideal drum machine and sample-slicing workstation, taking the physical control of hardware but the flexibility of software, what would it look like? We talk a lot about hardware control of software, but hardware usually comes second – software gets designed first, and then either you have to figure out how to map hardware to it, or someone else comes along and designs gear. That means there’s usually a disconnect in the design and workflow of the two, and most of the time, you have to reach for the mouse to make up the difference.

Maschine (pronounced as the German, mah-SCHEE-neh) was developed at Native Instruments with the goal to design the hardware and software simultaneously, not separately. That’s not an easy goal, and I don’t expect Maschine to be perfect or please everyone. But I got to visit the prototype at NI while I was in Berlin in October and see it in action, and I can say at the very least, the folks who created feel the way many of us do – they love software, they love hardware drum machines like the Elektron, and this is an attempt to be a real hybrid.

So, while contrary to rumors, NI does not have a box that does any audio generation in the hardware, this is a real attempt to fuse the controller and software in terms of design and workflow. The idea is to use the screen for visual feedback (you do have this big, pretty monitor on your desk or notebook), but to be able to work without a mouse.

Maschine can also work as a plug-in as well as a standalone app, depending on how you like to work (or how you want to play live). That means if you’re already in love with something like Ableton Live, you ought to theoretically be able to put the two together. Unfortunately, you can’t yet use it as a sequencer to drive other software, which would be an ideal next step; sequencing is as big a part of what Maschine does as sampling and sample manipulation. (No official statement on MIDI output has been made yet.)

Maschine’s hardware also works as a controller. So, for those keeping score, you could put Maschine next to the just-announced Akai APC40 and use them both to control Live – or Maschine could compete with the APC for your Live-controlling dollar – even before you touch the Maschine drum machine software.

Here’s NI’s intro video, which gives you a sense of how this stuff ties together (and we are officially the first to post it).

We’ll naturally be looking more closely at Maschine soon (I’m going to buy a new espresso maker and not sleep for the next few months). Here’s a quick overview:

• 16 pressure-sensitive pads, which light up for visual feedback
• Step sequencing
• Polyphonic recording (so it is a real sequencer, too)
• All software features are available quickly “on the surface,” so not only do you not need the mouse, but unlike a lot of hardware and even controllers, you don’t have a bunch of submenus and buttons to press to do stuff. That includes tasks like automation editing and even sound editing
• Automatic sample mapping, beat slicing, note repeat
• Real-time audio recording and resampling – so you can not only record, but resample what you’re working on, MPC style
• Effects sends “from conventional to experimental” (basically, you can enjoy the kind of sound mangling goodness we’ve had on Kore and Reaktor lately)
• Kore-style sound browsing, with a multi-gig library to get you started

Availability: April 1

Pricing: US$669 list (EUR 599)

The hardware has a top-notch feel and metal casing; at least from what I could judge from the prototype, this should look and feel absolutely fantastic. My only real disappointment was that there’s no synth engine, but that’s just because I love drum synths. Then again, I love the simplicity of Maschine, so perhaps the best fix would be to add the ability to either host plug-ins, as Kore does, or to provide MIDI output capability to other software, so that you could drive synths and other creations. (Heck, you could even sequence visuals in that case.)

What’s unique to me about Maschine is that it isn’t simply an emulation of an MPC; it still takes a software approach to sequencing, it still supports plug-ins and the things you like about software, and it still has NI-style effects. By virtue of being software, in fact, you can really change how you use it relative to hardware. You can drop it in Live or even in a tracker like Renoise. You can use it not as a drum machine but a pattern-based effects unit and insert it after your voice or an instrument. Then you can switch to a VJ set, ignore the Maschine software, and use it as an intelligent plug-in for running live visuals for your friend’s band. None of this is nearly as practical with a conventional hardware drum machine – and this is a whole lot cheaper.

Also, unlike some attempts to unify hardware and software in the past, the visual relationship isn’t slavish. You see something that looks like it makes sense on a screen when you’re editing; it looks like software, but you can easily control it with hardware and not the mouse. (Nothing against the mouse – it’s fantastic for many jobs; sample slicing and music editing just happens not to be one of them.) When you’re ready to perform, the displays on the device mean you don’t have to look at the screen at all.

It’s also worth noting that this is very different from today’s Akai APC announcement. The Akai is clearly better suited to mixing and clip triggering, but the Maschine has velocity-sensitive pads the Akai lacks, and is better suited to hardware control of beat slicing and editing operations. (That said, someone may decide to use Max for Live to turn Maschine into a hybrid machine that also controls and edits Live itself, so everything is suddenly wide open.) And the APC is all about a host (Live), whereas Maschine is all about adding a drum machine / workstation to a host (which could be Live, or Renoise, or Pro Tools, or something else altogether).

In fact, to me, the real competition is Ableton Live’s Drum Racks, groove extract, and slice to rack features. It’s mouse-based, but it also integrates with a host and can host plug-ins itself. I’m personally excited about using both, so it’ll be interested to see which I wind up preferring for which tasks. And you can meanwhile bend your brain around the idea of Maschine instances running inside Ableton Live Drum Racks and other odd combinations.

If there’s any criticism of Maschine, my guess it that it’s likely to be criticized for over-simplicity: as opposed to the first release of Kore, the approach here is really minimalism; NI did less in the hopes that you’d get more out of hardware integration, and the rest you can make up by working with your favorite existing tools and plug-ins. That’s not to say it’s dumbed-down, from what I can see, though I just have to use it.

Whether NI has nailed this one is another question, of course, and one I’ll want to test vigorously. But I love the idea. Mainly, I just want to get my hands on one so we can try this out. You’ll definitely want to stay tuned.

http://www.native-instruments.com/maschine.info

Corrections: In the first draft of this story, I suggested that Maschine could output MIDI to other software instruments or host plug-ins; at least as of version 1.0, the software can’t. You can use it as a controller, though, and output MIDI to other hardware (so you could sequence hardware synths or even other drum machines). The thing I’d like to see there is MIDI output to other software; we certainly have enough hosts (NI’s Kore being one of those hosts). I also overstated the connection to Kore (which is why I was confused about plug-ins). Like Kore, Maschine is integrated hardware and software, it shares the Kore browser, and it shares some of the other design features of the current generation of NI software. But Maschine is its own creature – and honestly, that’s a good thing. Stay tuned for more details.

DIY lovers and drum machine nuts alike should be very excited by what our friend Wesen has been up to lately. Working on his projects MidiCommand and MonoJoystick, two hackable boutique music hardware gadgets for MIDI control and joystick manipulation of MachineDrum, respectively, he’s built a powerful MIDI library integrated with the Arduino development environment.

Say what?

Well, it means three things, basically:

1. There’s an evolving library of MIDI goodness with the friendliness of the Arduino, but built to do things you need to do in the real world (as tested by Wesen’s hardware and musical needs)!

2. We have drum machines doing fantastic, tasty polyrhythms.

3. The MidiCommand MonoJoystick are going to seriously rock.

Library feature set in a nutshell – and why I’m so excited:

• MIDI I/O via MIDI connectors or USB
• Display to a “GUI” (read: a screen for your DIY project)
• Tools built right into the library for MIDI sequencing, scaling, mapping, functions, LFOs … wow.
• Works with MachineDrums
• Tight MIDI Clock and sync – meaning you could build a DIY project and use it as a clock source for your software rig, if you like
• External storage

Even if that means nothing to you in that you don’t have time to build your own project, this means you could benefit from kits and boutique gear that take advantage of these functions – like the brilliant hardware Wesen himself is working on. And if you have dreamed of building your own gear like this, you’ll have some powerful new tools (including hacking the Ruin & Wesen gear, leaving them to sort out the tough part sourcing and hardware design issues).

Wesen is sharing all his code, so I could imagine this evolving into something very useful for other projects. As it happens, I’ve also been watching an evolving perfect storm of fantastic, open music hardware – more on that in the coming months of 2009. (For starters, how about this evolving step sequencer?) If these projects can mature and begin to converge, I think we could see a real revolution in the gear we use for noisemaking and control, not only for DIY nerds who love the smell of solder fumes (guilty), but novices, as well.

My New Years’ Resolution: make all this as accessible to y’all as possible, regardless of your knowledge level (which means catering both to those of you who are brand new to this, as well as those of you who know way, way more than I do so you’re at least hooked up with the awesomeness).

A peek into MidiDuino with some code samples

More MidiDuino with juicier details

Wesen of Ruin & Wesen has been doing some amazing stuff with the MachineDrum – and sharing every last detail with friends via the Web.

Ruin & Wesen blog

We’ve already seen his DIY hardware, including a joystick for the MonoMachine. Here’s my favorite hack so far, though: using the MIDI Command hardware, he’s set up his MachineDrum as a 16-voice polyphonic synth. That means, instead of just tweaking buttons and such, you can actually hook up a keyboard. (Hmmm… so, Keyboard Magazine, can I now write a MachineDrum + MIDI Command review for you?)

Joy of Streaming: I like Wesen’s latest idea — he’s live-streaming an informal apartment from his studio online using the service Stickam.com. Stickam carries events like the live BFF premiere with Paris Hilton. This particular stream is … well … a bit different in tone. (Think an international convergence of music tech lovers chatting about details of Wesen’s setup. Paris, you don’t know what you’re missing. Music is hot.) 

If you want to join us, the event is happening now, and I’m sure there will be more like this soon:

Sign up (for chat capability) at: http://www.stickam.com/viewJoin.do

Watch at: http://ruinwesen.com/live

Live streaming could be a great way to connect with fans of your work, try out new setups as you’re developing them, or just to hang out. I keep meeting people doing amazing work who aren’t in the same place geographically. (Imagine online hackathons.) So, that brings me to my next questions:

• Seen any interesting uses of live streaming for music?
• Any good tips on the best services / servers to use? (Maybe it makes more sense to use a DIY server solution, or are the hosted servers an easier way to go?)

Now, if you’ll excuse me, I’m back to listening to Wesen and cleaning my apartment, or I’m not going to be able to do any streaming events any time soon.

Updated – recording: If you weren’t there last night, here’s the technological highlight from Wesen’s hardware, plus an MP3 of the music:

Thanks to everybody who was there, it was super fun! Sadly the video recording option on stickam broke down and didn’t save the recording, but here is an mp3 of the liveset: Stickam Liveset. I was not very concentrated so it is quite raw, and when I was chatting I was not changing much, but it was super fun to play. I presented the new feature for the MIDI Command: tweak recording, turn a knob and record it, and it will play back tempo synced to the controlled device. It’s a very useful feature, very easy to use, and allows for a host of new possibilities.

I’ve been following Ruin & Wesen’s development as they’ve been hard at work on new, petite MIDI controllers, promising to be the first of a line of DIY-friendly controllers. “Open source hardware” has been getting a lot of play as a concept, but the idea here is really built around the product: their stated claims emphasize musical usefulness, documentation, extensibility, and customization in addition to the making code and schematics available to hackers.

Today, Ruin & Wesen have launched their website, with two nice-looking products ready for pre-order. The MIDI Command is a small box with five endless rotary encoders on it and a “Macro Knob.” Here’s where things start to get interesting: not only does the unit ship with support for Ableton Live and Elektron Machinedrum support out of the box, but you can flash your own firmware using SysEx. There’s also an LED display, so combined with the software editors and MIDI mappings, this could even allow you to “roll your own” Kore-style controller.

Elektron fans should be even happier about the MonoJoystick, as featured in the video above. As a companion to Elektron’s MonoMachine SFX-60, it gives you six buttons and joystick control over the boutique drum machine. It’s obviously suitable for emulating Elektron’s own joystick add-on, but it’s again hackable for custom firmware and features, and as seen in the video, allows control even Elektron does not. Given those features, I’d actually be interested in seeing the MonoJoystick re-purposed as a software controller for those of us who aren’t lucky enough to own the MonoMachine.

Both units are handmade in Germany. The MonoJoystick is EUR130 / USD190; the MIDI Command is EUR180 / USD265

Ruin & Wesen Digital Products

I’m in touch with R&W, so hope to have more on this soon. I do think we’re seeing the birth of a new business model for music hardware, one built around open source. You’ll notice that it’s often the interface of open and closed but extensible tools that may be the most productive (like an open source controller for the proprietary but well-supported Ableton Live). Naturally, a lot of the open source ideas out there won’t work — that’s the nature of business — but the ones that survive could be wonderful for the music landscape.