Inside the Dub Machines, Analog Modeling Delays, Reverbs with a Twist, in Max for Live

Can an echo of the old still bring something new? Dub Machines, an Ableton Live pack of delay Devices, is both a painstaking set of digital models of analog delays and a chance to open those old techniques to new possibilities. And its unique flavor is in no small measure thanks to its creators. We got to talk to Matt Jackson (Ableton) about this new endeavor and how it came about – and some of the stories inside its creation, including the involvement of one of our favorite machine music makers, TM404. First, though, about those machines. Developer Surreal Machines …

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Hexonator Resonator Makes Any Sound into Harmonies, Sequences

Resonators are a breed that could use some new life. Let’s not even talk about Ableton Live – use one of the presets in the built-in effect in that software, and any producers are likely to perk up their ears – and turn up their nose. But that’s why it’s nice to see the latest effort from Artemiy Pavlov and Sinevibes. The Ukrainian developer has just been on a roll lately with clever, Mac-friendly (Retina Display, even) creative plug-ins. And the latest is a fresh twist on a resonator. Six tuned resonators already makes a nice resonator plug-in, but Hexonator …

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A Trio of Unique, Colorful Effects Boxes from OTO Machines, Coming Soon

It’s not enough to just release sound hardware. You want something different, something with character. French builder OTO Machines did that with their Biscuit, a gorgeous combination of 8-bit crunch and analog filtering, then later turned it into a synth and step sequencer with nothing but firmware. But now it’s time for a follow-up, and instead of one sequel, we get three. There’s a 12-bit delay unit, a digital reverb inspired by some 80s classics that never get old, and an analog compressor/”warmer”. That neatly covers three bases of things many people want, and seem to target a nice space …

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An Analog Filter That’s Playable for Producers, Guitarists Alike: Waldorf 2-pole Video

Synth maker Waldorf revealed the 2-pole Analog Filter in the USA at the NAMM show. Now, they’re coming home to Germany with more details. The emphasis here is making a filter for everyone: producers and synthesists, yes, but also DJs and guitarists. We already know guitarists like having access to this stuff if it can be playable (see KOMA, Moog), and if Waldorf can sell DJs a buttery filter instead of the awful stuff you get on many DJ mixers, they may be doing the world a public service. The hardware has an all-analog filter path, which makes sense for …

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Record a Mic, Guitar with UA’s Apollo Twin, and Model Analog Like Never Before [Thunderbolt, $699]

Universal Audio’s new Apollo Twin (in SOLO and DUO variants, starting at US$699) gives you quite a lot of value on a single Thunderbolt connection to your Mac. It’s shipping now. It’s an audio interface, with connections for line, mic, or instruments. It’s a real-time DSP processor, adding the ability to run UA’s suite of (mostly analog-modeling) sound processing goodies. (SOLO/DUO refers to how much DSP muscle you get.) And it’s a bundle of UA models of analog hardware, including a rather nice pair of limiters, an EQ, amp models, and tube preamps. If you think they’re hoping guitarists and …

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A Slightly Unorthodox Hands-on Review of Waves CLA-2A Compressor

Just watch it. As you can hear, the vocal’s not moving in and out any more. Consider this your Unicorn Chaser of the day. Yes, it’s possible we’ve watched too many of these sorts of videos… Hope you’re having a good weekend. Thank you, Machinedrum, for the tip. * Disclaimer: No, I do not think this is the original soundtrack of a review video from the WAVES Street Team.

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Leaked: Moog Minifooger Stompboxes, $139-199 [Uninformed Analysis]

American retailer Sweetwater leaked news of Maschine Studio yesterday; today, it’s pocket-sized, affordable versions of Moog effects that seems to be out of the bag. Yes, it’s a rumor, non-official, unconfirmed, yadda yadda – but this one’s hard not to believe at face value, it makes so much sense. The units, many of which appear to be intended for combination with an expression pedal: Delay, US$199: bucket-brigade analog delay. Tremolo, $179: Tremolo pedal with sub. Boost, $139: Both volume pedal and “boost” functions, each with either a more Moog-like voltage-coltrolled amplifier or a classic-sounding operational transconductance amplifier for overdrive. Drive, …

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Daft Presets? Reason 7 Effect is Instagram for Music; How to Use – or Misuse It – and Why [Video]

Propellerhead’s latest cheeky tutorial makes no apologies. Reason 7’s Audiomatic Retro Transformer is, they say, the equivalent of tapping a filter on a phone camera app like Instagram, bundling lots of different sound attributes together into a single push-button setting. Ironically, their example is a send-up of the distinctive sound of Daft Punk’s poppy, fuzzy disco – meaning, they’ve got a preset for the band that says the problem with computers is presets. (And to think, you didn’t need to pay for all that high-end studio time.) This seems likely to produce some controversy. In fact, I’d for some time …

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Voice as Surface and Artifact, in the Experimental Drone Music of Jelena Glazova [Listen]

Experimental noise art, drone music, and other forms – whatever you might call them – can unquestionably be an acquired taste. Absent the normal landmarks of harmonic and rhythmic structure, they raise questions about just what makes form – and accordingly, as a listener you can be lost in a unpleasantly-formless mass. But in the music of Latvian sound artist and poet Jelena Glazova, as in the experimental sound I find most appealing, the experience is not cerebral so much as sensual. There is a conceptual background, but perhaps that’s what sound does so well: it can execute a concept …

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Free Granulator II from Robert Henke for Max for Live; Another M4L Grain Instrument On Its Way

We’re spoiled by modern software as a canvas for experimental sound. Significantly, once constructed and encapsulated, these digital sound devices can fall away, allowing you to explore new noise frontiers through play, not only through calculated sound design. (That very question has come up in very different conversations with developers I’ve had in the last 24 hours or so, so I think it’s worth mentioning – whether it’s something you’ve created or downloaded, you can get to the point where you use your ears and intuition to find sounds.) Let’s talk about that in regards to Ableton Live and Max. …

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