“Fruity Loops” has long proven that not all music making apps have to look the same way. FL is quirky and different. Its editing interface is built as much around step sequencers and pattern sequencing as the conventional, mixer and audio-tape-derived views. But perhaps some of its real draw is that it packs, in its mid-level-and-higher packages, it’s packed with fascinating and unusual sonic toys. FL 9 looks to continue that tradition.

And because it’s FL, if you’ve ever bought FL, you get a free lifetime upgrade to this version. (Seriously, if you’re pirating FL, stop. You have absolutely no excuse.)

New toys in this version:

• Autogun Derived from the excellent sounds of the Ogun synth, this instrument has “more than four billion presets.” (Wait… what?) I do agree with Image-Line’s description of “rich metallic and shimmering timbres” in Ogun; that’s exactly what it sounds like.
• Vocodex vocoder, the “last word in Vocoders.” (I thought the last word was, “No one needs a vocoder,” but I could be wrong.) Automatic speech enhancement plus up to 100 “variable-width, multi-parameter” bands does give this some interesting twists.
• Stereo Shaper.

I think that improved performance and editing may be bigger news, however:

• Multi-core CPU support, multithreaded generator, and multithreaded effects processing. This is the one that I expect most excites you crazy, synth-and-effects-routing mad scientists who have been pegging your CPU.
• Improved effects: sidechaining in the limiter, mid-side processing in the reverb, export and noise reduction in the awesome Edison and Slicex audio-editing instruments.
• Improved Playlists with “Clip Track” features
• A “Riff Machine” for automatically generating sequences in the Piano Roll
• Multiple controller support for defining different instrument channels. (Okay, FL experts – did I miss something? That wasn’t present before?)

Mixed Up – Beat Blender and Mixmaster 1200 from Matti Niinimäki on Vimeo.

Matti Niinimäki is back DJing with flea market, broken appliances as physical interfaces – and the whole project is getting better and better. We saw an early prototype of the Beat Blender, a re-purposed Osterizer with fake fuzzy fruit that stand in for loops. Now, Matt has added a handheld mixer for scratching.

The Mixmaster 1200 is a wireless scratching device for the turntablist who prefers to deliver his/her scratches like a 5 star chef. As you can see, the Mixmaster does not have any beaters attached to it. This is because it has small laser powered plasma emitter beaters that actually heat up the airwaves around the device itself producing the unique sounding aural explosions.

Motion – Mixed Up (2009) [originalhamsters]

I recently got to see a Numark NS7 in the flesh, the controller that company hopes will be the last word in DJing. It’s got nothing on this.

I’ve got to hook something up to my Breville… maybe temperature sensors.

Matt may have beat you to this idea, but I guarantee, if you’ve been thinking about alternative controllers, you will never see a flea market in the same way again.

Sure, the vocoder may now be something of an electronic music cliché now, but it got its beginnings as a mechanism of encoding speech. It was one of the first electronic instruments. It helped inspire the conceptual model for all digital communication. And, those lofty goals aside, it can still sound terrific when used creatively. (Hint: you don’t have to use your voice as a source.)

These are heady times for the vocoder. Hosts are getting better at accomplishing the routings necessary to produce vocoding effects. Software and hardware vocoders are appearing everywhere. And of course, the great moment has been Ableton releasing a Vocoder in its upcoming Live 8, not so much because of Live or that Vocoder, but because company co-founder Robert Henke was immortalized in a remix (video above) talking about how you wouldn’t need it. I expect one of the first unofficial Live 8 tutorials may use this clip. (Apologies to Robert – especially as that’s exactly the sort of thing I might say speaking to students, and I actually agree. You don’t need a vocoder. For one thing, if you know what you’re doing, you can patch your own. But I digress.)

History and Vocoding without Autopilot

For a different take on the vocoder, let’s first take a trip back in time.

The FL Studio community was rocked earlier this month as producer Deadmau5 claimed the use of his samples was “stealing,” even though these samples were bundled with the software and assumed by most to be licensed royalty-free. FL Studio developer Image-Line has not responded to a CDM request for comment, but they did talk to MusicRadar.com. Managing Director Jean-Marie Cannie told that site:

We’ll remove all melodic loops from FL Studio to avoid this kind of stuff in the future but that won’t change a lot I’m afraid. Our demo material has been stolen 1000s of times in the more than 10 years we have been doing this. The difference here is that this time it was stolen from a user that made it big.

I’m going to ignore for a moment the question of how “that won’t change a lot” – people will be able to steal demo content even when it’s not there? That aside, there are two odd things about this story:

1. Image-Line seems to helped create the problem by shipping sample content in software without being clear which license covered that content and which is which, then responded with the inexplicable argument that that sample content was supposed to be for “demo” purposes only (with nothing that I can see to back up that statement, and evidence that precisely the opposite was the case). No one is angry enough to dump FL, because it’s an excellent tool, but I sure hope Image-Line learns from the experience.

2. Many users are nonetheless responding “good riddance” to the loss of sample content.” For a lot of people, the bigger question here really is artistic, and maybe it’s time for computer musicians to draw a line.

Not everyone agrees with all my raves about FL Studio 8 — including some loyal FL users. Whereas Ableton Live has taken some flak in recent upgrades for catering to requests for more conventional functionality, even some FL lovers are frustrated with the program’s quirkier bits. Evan X. Merz writes a rant on FL Studio and version 8:

FruityLoop’s approach is so unique that it negates the value pricing. If you want to use FruityLoops, you basically have to commit to another DAW. So while you will save money by getting everything you get with FruityLoops, you will still find it necessary to purchase another DAW to streamline your recording … so the final price you pay will end up being about as much as if you had just bought another product in the first place. …