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Sony have sold ACID, Sound Forge, more to MAGIX

It’s the end of an era – but maybe not such a golden era. Once upon a time, ACID and Sound Forge were each industry-leading software tools, originally developed by Sonic Foundry. Now, languishing alongside their stablemate, video editor Vegas, they’re seeing ownership pass from Sony (via its creative software division) to German software house and holding company MAGIX.

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Lesley Flanigan’s ethereal music mixes singing and vibrations

There’s no oscillator quite like your voice. And sometimes the simplest techniques can yield elaborate textures. Lesley Flanigan has built a body of work out of an elemental approach to electronics, and her new release Hedera is to me the most beautiful yet, transporting us somewhere truly sublime. The source, in addition to singing, includes feedback, a broken cassette player – but evolves into mists of sound and space, shifting from the delicate to the raw.

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Watch Battles Reflect on Loops, Ableton in a Live Band Setting

On some deeper level, maybe it doesn’t matter how something repeats – whether it’s looped in a pedal, looped in software, or simply repeated by a human player, for instance. On another level, given just how much repetition matters to music, maybe that’s why we care so much about how it’s accomplished. Ableton this week released a visit to New York’s experimental rock trio Battles, in a film and interview under the header “The Art of Repetition.” There, we get to learn more about the process behind Battles’ dense, hypnotic sound. The film is a bit long, but there are …

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Electro-Harmonix has a Dual Stereo Looper with Layering, USB

Electro-Harmonix have a new looper out, introduced last week in Nashville, that I suspect could be a really big hit. The winners: dual stereo operation, loads of recording space, and then easy connection via USB so a looped improv today could be the beginning of a track tomorrow. Oh, and it’s not expensive, either. When it comes to looping in live performance, most folks haven’t taken to the computer as much as the standalone looper, particularly BOSS’ LoopStation line. And that’s with good reason: you want dead-simple operation so you can focus on playing. The heart of the idea is …

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These Tools Plus Live 9.2 Could Change How You DJ and Play Live

Ableton Live can be a fantastic tool for playing live, for improvisation, and for studio work. But while some people put together very effective DJ sets, it doesn’t always stack up to other software out there in terms of satisfying certain significant DJ techniques. And that’s too bad. Because if your DJ aspirations include lots of creative juggling of beats, Ableton Live would seem perfect. The DJ Collection from Isotonik Studios – the advanced Max for Live hackers who have been releasing a dizzying array of tools for customizing how Live works – provides some of the tools advanced DJs …

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Akai artist Needlz set up this MPC+computer rig with Renaissance ... in a hotel room (to get out of the house). No, no standalone MPC hardware at the moment, but 1.8's software features might help you forget that.

MPC 1.8 Update Expands How You Play; Inside Look with the Developers

“MPC” these days is a name on a lot of Akai stuff, down to even various MIDI controllers that happen to have pads. But to die-hard MPC users, “MPC” means a way of working. So, workflow is vitally important. And MPC users who cut their teeth on Akai’s dedicated hardware have been waiting to see the software/controller combination really come into its own. Native Instruments’ rival Maschine got to the software game first, but now it’s a question of how the MPC can again set itself apart. That makes any software updates a big deal. You’d be forgiven for assuming …

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MPC Software 1.7: Direct Looping, Better Mixer, Track Automation, Proper Export, and Hybrid Synth

Let’s get one thing straight: now that Akai has made the jump from hardware to hybrid hardware/software, the hardware they make is very, very good. The MPC Studio is slim and messenger bag-friendly, when Native Instruments’ Maschine is big and luggable. The MPC Renaissance is more of a “throw it in your station wagon” affair, but it feels fantastic – the pads are brilliant. The downside has been software. But Akai is making headway there. I’m not convinced the changes are going to make anyone switch, but I can imagine what Akai is delivering here should make existing users very …

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Hey, there's a modular inside my drum machine. Images courtesy Arturia.

Watch Arturia Spark 2, as $129 Drum Machine Adds Modular Sound Design, Song and Loop Powers

For all the wonders of the hardware drum machine, there’s nothing quite like the flexibility of the software drum machine. More than mere groove-makers, beneath the conventional and familiar drum machine paradigm lies some real potential for sample manipulation and sound design. Native Instruments won over users by demonstrating the hybrid hardware/software workflow in Maschine, and various software instruments (FXpansion, anyone?) have put pressure on hardware with the sheer range of what they can do. But somewhere in the shadow of Maschine and Akai’s MPC Renaissance, Arturia’s Spark has been a little-known, compact, inexpensive challenger. And that’s why Spark 2 …

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Diachronic is a Completely Insane Looper Inspired by Turntablism, Free for Max for Live

If loopers have been getting you down by being a bit, well, repetitive, this is for you. It starts as a simple, drag-and-drop looper. Add it to Ableton Live and drop your audio on it. But then things get a little … um … different. Inspired by turntablism, loops in Diachronic cycle continuously. But speeds can be changed spontaneously, as if the hole in the record could be shifted in position. And the results are absolutely nuts. (Underscoring that effect, the promo video for version 1 is narrated by a calm British narrator, intoning parameters solemnly, with names you’d be …

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A Different Synthesis: Julianna Barwick, Colleen Fuse Folk Tradition with Electronics [Videos]

The essential quality of electronic music is, in some sense, collage: drawing from multi-track recording, it is defined by the ability to put things together in records or performances in new ways. The contents of that collage need not always be drum machine beats or synthesized alien sounds. And so, many artists draw from a different well. Mentioning Georgina Brett last week prompted more reader recommendations. Two artists – one from France, one from Louisiana – exemplify the fusion of minimalist and folk traditions with electronic practice. And these two, each with a different spin on aesthetics and composition, also …

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