KORG has a way of coming up with hardware that’s fun to use. The KORG KAOSSILATOR, a simple, cheap AA battery-powered box packed with sound-making functionality, had already won some hearts over. Touch its X/Y pad, and the KAOSSILATOR responds with built-in synth programs and arpeggiators, all mapped cleverly to the touchpad to stay in the key range you desire.

The KAOSSILATOR Pro really appears to be a hybrid of the KAOSSILATOR and KORG’s KP3 effects/sampler box. In fact, it’s really closer in appearance and function to the KP3. Like the KP3, the “Pro” has phrase sampling capabilities and effects, so you can route in an audio source or mic, and store banks of sampled phrases on SD card. It simply combines that with the playable instruments of the KAOSSILATOR.

The upshot of all of this, of course, is that you get a box you can play like an instrument, use as an effects box, use as a sampler, or a combination of all three. And while that sacrifices some of the simplicity of the KAOSSILATOR, that could be a potent combination. For effects, you get gate arpeggiators for rhythmic effects and vocoders that work with your mic. I’ll need to get a rundown from KORG on the exact specs — it looks like the KP3 is still a beefier sampler and effects box than the KAOSSILATOR Pro. But even if that’s the case, it could be more than worth the tradeoff for getting the instrument in there, too. I know plenty of users, casual and advanced, addicted to the KAOSSILATOR; the ability to plug in a mic and use a vocoder is likely to win more.

KORG, you just won a spot on our NAMM booth itinerary. And yeah, this could be a fun box to have around or even plug into a laptop.

Sure, it seems like the easy way out – take two things people love, squish them together, and people will love the result. That can’t work, can it?

Two words: cheese fries.

Check out the full specs:
KORG KAOSILLATOR Pro

Updated: remember how I said this isn’t a KP3? Readers in comments have begun digging into some of those limitations. The “Pro” KAOSSILATOR loses some of the fun of the non-Pro model: it’s bigger, clunkier,and it isn’t battery-powered. That’d be fine, if the payoff were greater editability. But the Pro KAOSSILATOR is more fixed in its functions, even a little limited compared to the KP3. That may not dampen your enthusiasm entirely: this is still a box that does phrase sampling, some effects, and the KAOSSILATOR’s touch-playable synths. But you can see why some folks want a “KP4″ – a combination of these two devices with more functionality, not less, than the two alone. I’ll talk to KORG, probably after NAMM, to get the exact run-down on the difference between the three models, as we’re all just reading spec sheets at this point. But you can consider that a collective snap-reaction in the meantime.

“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?)

Still evaluating Live 8 – or want to learn more about how to use it? You can now read my review of Ableton Live 8 free on Keyboard Magazine’s site:

Ableton Live 8 Review [Keyboard Magazine]
See also (via comments) Nick Rothwell’s review for Sound on Sound June [subscription or US$1.49 fee required]

Keyboard doesn’t yet have comments, so feel free to discuss – or disagree – here.

I wanted to back up a little bit and consider Live as if for the first time. Now, I had also personally heard at least Robert Henke complain at one point that reviews of Live were uncritical. That to me would be a flaw as a reviewer, because all software designs involve compromises, so no software can ever be perfect. Here, I still feel there’s legitimate room for improvement in terms of the way Live handles interactive clip triggering and how it assigns control. Of course, we’re not just passively complaining about it – there’s also a community of Live users working to hack in functionality they need using the Live API, both via Python and forthcoming Max for Live.

Also for the review, I shot some quick video demos of features that were easier to show than describe, namely the new instrument Collision and the Vocoder effect. These are basically mini-tutorials on these creations. See Collision at top, Vocoder after the break at bottom. Fixed! Now the top video is actually the Collision video. (Oops.)

I’m a huge fan of physical modeling and Applied Acoustics, and Collision is one of the best percussion models I’ve seen. It starts to approach some of what’s possible in Apple’s Sculpture in Logic, but in a much more focused context, and with some unparalleled resonators (which you can also use on their own in the form of Corpus). See the top video for a walkthrough of the interface.

Vocoding Voices in Live 8 from Bjorn Vayner on Vimeo.

Continuing our growing collection of Live 8 video tutorials, our friend Bjorn of Covert Operators sends over a terrific tutorial on making use of the vocoder. Now, unlike the “misuse” tutorials we’ve been running, this is actually how this effect is designed to be used. On the other hand, if you’re still interested in misuse – and you’re not terribly interested in conventional effects – this can be a great way to wrap your head around the tool’s proper function, before you start warping it in another direction.

I think it’ll be fantastic having a vocoder ready to use, and if you haven’t played with a software vocoder, Live 8 should be a nice place to start. If any of you take this in another direction, do let us know.

Covert Operators has a whole bunch of downloads, tips, and tricks some available cheap, some free.

Live 8 is now officially out – for download versions, that means you can go grab the thing right now; retailers are also offering the software in boxed form today. See my previous look at top features.

The sorts of things that might make you like this new version:

• Groove extraction and dynamic groove quantization
• Live loop recording instrument (this one with the ability to set your tempo based on your loop length, for what’s called “first loop capability” a la the LoopStation)
• Some lovely new effects — Vocoder and Frequency Shifter being my two favorites
• Collision, a physically-modeled percussion instrument
• Lots of improvements to Operator
• A cleaned-up, expanded, improved sound Library

And quite a few other things, as well.

Curiously, I can’t find any information on what Share, the file sharing feature, will cost. I’ll try to find out.

Live 8

For those of you eagerly awaiting Max for Live – the environment that lets Max/MSP/Jitter patches appear natively in Live – that’s a separate release, expected later in 2009. (No beta is yet available of Max for Live, either.)

Update: Bits of the Ableton site haven’t been updated as I write this, but we do have the previous download/upgrade page (thanks, @plasticsounds on Twitter)

http://www.ableton.com/live-8-upgrades

Updated Ableton did update their site and the upgrade is now available for purchase and download.

I won’t comment yet on pricing as it’s a bit complex, but see some discussion in comments.

I’m finally editing some videos we have of tips for using the new version, so stay tuned right here.

Now, everyone go and write about / link to Live 8, as it’s getting really close to beating out the Live 8 concert event on Google (pictured at top).