The Traktor Kontrol X1 is an exercise in minimalism, reducing the various uses of Traktor to a few encoders and buttons and a compact form factor. But while it supports MIDI for use with any DJ software, its “high-resolution” mode – as with Maschine before it – uses a proprietary protocol. The unit will sell for US$229 when it ships in February of next year.

The control arrangement of the Kontrol X1 fits a selection of essential parameters into its narrow form factor. The controls are divided in right and left into the two decks, with four sets of effects controls each. There are dedicated controls for browsing through tracks, and cueing and tempo controls. The case can be used either horizontally or vertically.

The strategy appears to be to focus on controlling loops and effects, while those who want to work with digital vinyl can view this as a consolidated mixer / browser interface.

There are some nice extras, too. The box itself comes with Traktor LE, meaning someone can get started with digital DJing for about two hundred bucks. And for another $49, you can add a custom stand and case – details too often left out of controllers.

We saw this controller in September, in use in Richie Hawtin’s set. On NI’s promotional site, Richie has something interesting to say about Traktor, which is that it isn’t necessarily getting used by everyone in the same way:

You can put ten people on a stage with Traktor, and each one of them will have a different way to be creative and bring out their personality through it.

My sense is that this hardware will be well-received, because it is focused on some clear functions, it’s compact, it’s cheap, and it can be used in different ways by different people. Those trends have proved successful in controllers of late. On the other hand, it seems that a generation of hardware controllers that could have employed an open, standard, high-resolution control protocol are doing anything but. Ableton has locked certain software features to certain controllers, and in its controllers uses only MIDI. NI uses higher-resolution data, but has not continued to actively develop OSC. That could mean that, while open-source and visual software continues to progress, we may have to wait years before commercial music software comes to support any standard for this kind of communication using anything other than low-resolution MIDI. The big question may be, is there any incentive to commercial makers to do otherwise?

www.native-instruments.com/traktorkontrolx1.info

Normally, pricing announcements and sales press releases bore me to tears, but this is actually news – Native Instruments is selling Komplete for July only at just US$/EUR 399, instead of $1139/EUR999.

That means if you were looking for Reaktor alone – about as good a desert island music software choice as you can find – this would be a good deal. You also get Absynth, the absurdly deep (if sometimes baffling) synth with surround sound envelopes and a workflow that could change how you think about sound, the very nice effects and loop recording in Guitar Rig, and the scriptable sampler Kontakt, as well as the Battery drum sampler and lovely Massive synth.

As recession specials go, this is a tough one to beat.

http://www.native-instruments.com/komplete5.info

In other news, we’re opening up more discussion of tools like Reaktor (among many others) to the community here on noisepages; check out Peter Dines’ recent modulations blog for thoughts on Reaktor (and the free and open source SuperCollider), or his just-formed Reaktor group, on which he asks, “what problems are you solving with Reaktor?”

Composer turned sample developer Wilbert Roget, II has just released a new ‘indie’ sample library called Impact:Steel. We spoke with him to find out more about how and why he created the library and how creating his own sample libraries plays into his composition.

CDM: First, can you tell us a bit about your background, and how you got into composing and music?

Wilbert Roget, II:Well to keep things short, I’m basically a lifer with music and composition, studying piano early on and doing improvisations almost immediately (if not before). I decided on film and video game composition as a career sometime in high school, and went on to study composition, orchestration, and conducting at Yale University. I’ve been scoring films, games, ads, and various other projects ever since.

CDM:What got you into sample library creation – specifically for Impact: Steel?

WR:I’ve been making my own samples ever since I’d been scoring video games, back in the DLS era. I created Impact: Steel specifically because I had lots of musical ideas for my soundtracks that would’ve used metallic percussion, but no commercially-available libraries had the kind of instruments I wanted. Several years ago, I’d recorded a few metal objects I found in my room into a useful (albeit low-quality) soundfont, which ended up being the inspiration for Impact: Steel as it is now.

As a side note, it wasn’t until about halfway through production that I decided to release it commercially instead of keeping it private.

CDM:What goes into making a sample library? Did you just collect a bunch of noisemakers and record them, or did you have some kind of a plan before recording?

WR:Actually, I’d been collecting most of these “instruments” for years – I have a weird habit of just tapping on things and taking note of what kind of sound it makes. Since I already had the instruments, I had a good idea right away of what kinds of articulations I’d use. Each instrument is heavily multisampled, with up to 9 velocity layers and 3 round robin variations per each of the 73 different articulations (on different parts of the instrument, with different beaters, rolls, scrapes, tremolos, etc.). So I really needed a detailed outline on paper that detailed what exactly to play, in what order, specifying mixer settings and even microphone distances.

CDM:Can you tell us a bit about the process of recording your samples?

WR:Sure! As I mentioned before, it’s almost impossible to do any kind of a large-scale project without a printed cue sheet. Mine even had specifics on the number of variations, “safety” takes, exact playing position on the instruments, and so on. I’d say once you’ve done that, it’s a good idea to do several prototype recordings, not only to check levels but also to get a sense of how it’ll sound in your sampler of choice.

As for the actual recording phase, I recommend trying to do as much as possible in one take, and splitting the files up later. This helps maintain a consistent sound throughout the instrument, which is crucial for getting an organic, convincingly realistic patch. If you made a cue sheet, it should be very easy to figure out exactly what’s playing when you’re editing the large recording files.

And again I really think it’s a great idea to have a good sense of what kind of a sound you’ll want in the end. In my case, I knew I wasn’t gonna get a huge “recorded in a giant hangar” sound, and I also didn’t want a pristine and surgically-dry tone either. So instead I adjusted my mixer, EQ settings, and mic positions to get a nice room sound, not too dry and with some air/ambience. EQing at the recording stage (ie. right on the mixer) also gave my samples a clearer and more powerful bass, with high end presence as well.

CDM:From the point of raw samples, what comes next?

WR:After the recording phase, there’s the editing phase and then the implementation and sampling phase. In editing, you’re basically splitting it up into samples and doing whatever post-processing you’ll need. Sampling is where you plug all the samples into your sampler of choice.

In my case, I threw the samples into Kontakt 2 and played around with them a lot before going back and post-processing them; this helped to get a sense of what kinds of edits and effects I’d need. The final product sounds remarkably different as a result, and I almost never needed to use real-time effects in Kontakt to compensate.

I’ll also point out that I wrote demo tracks not only to show off the library, but also to get firsthand experience with it myself. This helped me figure out what kinds of tweaks the end users were likely to implement, and it gave me a lot of ideas for making the library more ergonomic and playable.

CDM:Do you find that creating samplebanks is easier in one particular format vs. another?

WR:I’m not sure how diplomatic I should be here, but, far and away Kontakt 2 was the best editor I’ve ever worked with. I’ve used lots of other editors in the past, starting off with soundfonts and DLS, and Gigastudio; nothing really compares to how powerful and easy it was to build patches in Kontakt 2. In fact, I think I’ve built new Kontakt instruments for every one of my recent film soundtracks, either editing an existing patch to fit a certain musical context or even inventing something completely new. It’s highly addictive!

CDM:What makes Impact: Steel different from some of the other ‘junk percussion’ libraries available?

WR:I think the fundamental difference is that I never really considered Impact: Steel as being “junk percussion”, but rather a library built around the concept of metallic percussion instruments. One effect is that I:S is made of detailed, organic and ergonomically playable instruments, instead of being a collection of single hits and sound effects. Additionally, its basis on an abstract concept also meant that I could include a diverse range of patches that fit the idea of a metallic sound world, such as textures, swells, colossal hits and other FX patches.

CDM:From a business perspective, what’s next for Impact: Steel? Do you plan on marketing, licensing or selling the library to a larger company, what types of distribution, etc.

WR:At the moment, I’m handling all sales and marketing through my own sample development company, Impact Soundworks. I already have some other sample library ideas in mind for the months to come, so stay tuned!

CDM:Do you have any recommendations or advice for other composers or creators who might like to try their hand at creating a sample library?

WR:I think every composer should try and make some of their own samples, or at least tweak their existing commercial libraries so that they’re less recognizable. Ultimately I only made Impact: Steel just to give my own music a new and unique sound that hadn’t been done before. My advice to people trying to make a commercial library is to choose a subject that hasn’t been done a million times already, or at least take a different approach to it.

Our take: I’ve been playing with Impact:Steel for a little over a week now and it has already found a place in my regular sample library. As the demos on the site suggest, it works extremely well to add metallic flavor and impact to your compositions. I’ve found it really wants to be ‘played’ – that is, I find it hard to not want to smash my keys while I’m playing with the samples! Those with something like the M-Audio Trigger Finger or some Roland drum-pads will be greatly rewarded with the playability and musicality of this library. Here’s an excerpt from ambient demo I’m working on now, showcasing some of the ‘Clang Ensembles’ from Impact:Steel. Be sure to check out the official site for more. Enjoy!

Demo

The $.08 Ableton Live Controller

His MySpace blog, 13unluckysongsaboutlove, is filled with more video goodies like this. And we thought MySpace had no redeeming qualities. Ableton Live scene control after the jump.

He also has some tips for working with magnetic strips as a controller, a friend’s project that made the blogosphere rounds a while ago.