Well that didn’t take long! Here’s the first hot music App for the iPad: Korg iElectribe (iTunes link). A fully featured Electribe-R drum machine for $9.99. I’ve found that recording audio from my iPhone into Ableton has a different “out of the box” feel to the sounds when compared to VSTs. This is going to be fun!
“Korg’s ELECTRIBE·R has been coveted by dance musicians for ten years running. Today, this indispensable instrument has been reborn as a dedicated iPad app – the KORG iELECTRIBE virtual analog beatbox! Simply choose a part (or sound) and touch the 16-step sequencer to quickly build a groove. This easy-to-use interface combines forces with the iPad’s 9.7” multi touch display to offer an intuitive “hardware” feel, sure to inspire and captivate the imagination of any user. The iELECTRIBE faithfully recreates the historic ELECTRIBE·R’s entire sound engine and sequencer capabilities. In addition, it provides advanced Motion Sequencing, eight supercharged effect types, plus 64 new preset patterns that instantly allow the user to create music in a wide variety of dance and electronic music styles.” – Korg.com
Follow Korg iElectribe on Twitter: http://twitter.com/iELECTRIBE
This entry was written by iPad and tagged drum machine, Electribe, iElectribe, iPad, Korg. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
Novamusik shows off the Korg Kaossilator Pro. I’ve seen a few DJs really work with these things as extensions of their arms. I’ve never owned one but do thing they are fun. They are going for $399. Anyone love these? Hate them?
“As a trailblazer among the “instrumental gadgets” that allowed anyone to easily create melodies and phrases, the KAOSSILATOR gained a strong and dedicated user base, even among those without any performing experience. Today, the KAOSSILATOR continues to be enormously popular. Retaining these revolutionary features – while adding a wide variety of new ones as well – is the new KAOSSILATOR PRO. With 200 sound programs, a new Electribe-inspired gate arpeggiator, and four loop recording banks that can even record external audio sources, the KAOSSILATOR PRO is packed with features that make it ideal for both live performance and premium productions. In addition, USB connectivity with your computer and SD card memory storage allow the KAOSSILATOR PRO to be used not just for improvised performances, but also as a superbly intuitive, track-making music production tool.” – korg.com
For more info: korg.com
This entry was written by hardware and tagged effect, Kaossilator, Korg, Novamusik, synthesizer. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
I’ve said many times the Roland TR-808 is the king of all drum machines. It has the sharpest deepest kick with the most attack, snares and hats that sound like lighting and a sequencer that makes any beat sound incredible. I love this machine so much I think I subconsciously liked songs because they had an 808 on them (all before I even knew what a Roland TR-808 was!). I love this video above where a bunch of classics with 808 drums were recreated on an Korg Electribe SX. I own everyone one of these songs on 12″.
“Recreations, again by ear, of some classic early 80s beats that were originally made on a Roland TR-808 drummachine. This became the signature sound for freestyle music and later for house. Mantronix – 808 Beats, Shannon – Let the Music Play, Freeez – IOU, Man Parrish – Hip Hop Bebop, GLOBE & Whiz Kid -. Play that Beat Mr. DJ, Nineteen – Paul Hardcastle (iTunes link), C.O.D. – In the Bottle, Marvin Gaye – Sexual Healing” – Harlem Nights Music
For more info: en.wikipedia.org/wiki/Roland_TR-808
This entry was written by hardware, live performance, music and tagged drum machine, Electribe, Korg, Man Parish, Mantronix, roland, Shannon, tr-808. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
I’ve owned a few hardware Samplers. When I was in high school my father bought me a Roland S-50. Later, I had an Akai S950 and further down the road a S3000XL. I’ve always thought sampled sounds cut through a mix in a strong interesting way. The best part of a sampler is that if you actually use it to Sample sounds you have audio that’s unique all to you. Make a song out of your kitchen pots and pans rattling? No problem.
I’m thrilled to see Korg is going to release a new hardware Sampler keyboard. The microSampler is the right size, has some effects, mic input, software control and it can apparently attach to an iPhone. I have no idea if all this will add up to yum but milk, sugar, eggs and chocolate usually equals awesome.
For the first few posts about the microSAMPLER on Matrixsynth: click here
This entry was written by hardware, iPhone and tagged iPhone, Korg, microSAMPLER, sampler, sampling. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
Long before the hipster Microkorg hit Williamsburg there was the Korg 700s Minikorg. It was one of Korg’s first synths and to this day it’s one of my favorites. Every time I hear one of its raspy detuned aggressive sounds it makes my brain jump to it’s evil side. Daniel Miller used a 700 to create one of my all time favorite records TVOD/Warm Letherette by The Normal (iTunes link). Daniel soon went on to found Mute Records and sign Depeche Mode.
“It has three ring modulators for some strange sounds and noises. Sometimes a decent bass sound for techno music can be achieved using the MiniKorg’s hi-pass and low-pass filters. The two oscillators can be de-tuned and they offer triangle, sawtooth and square waveforms. There are some strange analog effects built-in as well such as portamento, a rudimentary repeat-delay, auto-bend (bender), vibrato and Chorus and Noise waveforms.” – vintagesynth.org
You can find the Korg 700s MiniKorg on eBay from time to time for a decent price. It’s on my wishlist!
photo credit: drsquidd
This entry was written by hardware, synthesizer and tagged 700s, hardware, Korg, Korg 700, Microkorg, synthesizer, synthpunk, The Normal. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
Here’s a clip of a new song I am working on called “We Will Get Wicked” which will end up on my next album. A man speaks to a woman letting him know his dirty plans for her. I imagine those plans take place sometime early in the morning on a weekend night.
“And it’s something we must go through.” – The Horrorist
I know this music maybe isn’t for everyone but we can all appreciate the drums of from the Vermona DRM1 MKIII firing all full force. The snare (with analog Bucket Delay full up) and clap are panned hard left and right making a sweet stereo spread. The nice synth that plays behind the breathing section is a Korg MS20 I borrowed from a friend. The MS20′s nasal filter really shines there. My favorite part of the song is when the breathing echos every 8 or 16th time they appear. I know it’s a bit Kraftwerkesque but I think it appropriately fits in a song about sex. Part of the reason they echo so nicely is that I use a TC Electronic Powercore’s Chorus/Delay plug-in. Take a listen:
Remember that music is only the soundtrack for a real life. Now go and find yourself someone to torture.
Related post: The Horrorist – Born This Way
This entry was written by music, song writing and tagged delay, echo, Korg, Korg MS20, Powercore, song writing, synthesizer, TC Electronic, The Horrorist, Things to Come Records, Vermona, We Will Get Wicked. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
If I had unlimited cash I would go onto eBay right now and buy every single drum machine I could find. The next best thing is a good sample collection. Puremagnetik has an interesting subscription model that delivers you monthly “Micropaks” of sounds all ready to go in Ableton Live. This month they hit my sweet spot with some nice 80s digital drum machine sets. Here what you get:
Korg DDD-1: A programmable drum machine from 1986. Includes 18 drum sounds with a famous 12-bit crunch. Alesis HR-16: One of Alesis’s first drum machines manufactured in 1987. Includes over 40 unique drum and percussion sounds. Kawai R50: Legendary 12-bit sound from 1988! Includes a selection of over 20 dirty drum and percussion sounds. Sound: A very rare Soviet era drum machine manufactured by Zhitomir electronic factory in 1989. Includes sampled percussion sounds with a tightly compressed flavor. – puremagnetik.com
For more info including a video walkthrough and audio clips: click here
This entry was written by Ableton Live, sounds and tagged Alesis, digital, drum machine, Kawai, Korg, Micropak, Puremagnetik. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
The National Association of Music Merchants otherwise known as NAMM met for their summer event last week in Austin, Texas Nashville, TN. Here’s the new gear and software I personally thought was interesting. I know some of these are not actual NAMM debuts but they fall in the “outed summer 08″ category and were featured at the show.
Korg nanoSERIES. These small, flat and inexpensive controllers are just what a lot of musicians have been waiting for. These are perfect to toss in a laptop bag. The nanoKEY, nanoPAD and nanoKONTROL will be available in October and will each be under $150. link
The Moog Guitar. Some people are scratching their heads on this one. A Guitar from Moog? Would Bob approve? According to Moog (the company) this was being planned when Bob was still with us. Personally, I have no problem with the idea. My main gripe so far is that all the video demos I’ve seen of the M.G. in action are not too impressive. The first of the Moog Guitars available is the The Paul Vo Collector Edition which will cost you $6,495.00. link
Arsenal Audio. A new brand from API. A few years ago a friend of mine brought a filled API lunchbox into my studio and hooked it up to my microphone. My voice never sounded so good and never has since. API as a company knows what they are doing so when they launch a new division I’m ready to give it a chance. I’m not totally sure why they need to branch off. Are these built in China or something? If they sound good I won’t care. Three products kick it off: the V14 4 Band VPR 500 Format Equalizer (fits in a lunchbox), the R 20 2 Channel Mic Pre and R 24 2 Channel 4 Band EQ. link
MOTU Digital Performer 6. I’m an Ableton Live fanatic but competition is what keeps the sequencer space evolving at high speed so DP6 is very welcome. This is the true Mac sequencer. Was born on a mac and always lived there so let’s give the guy some respect. What are the new tidbits DP6 has to offer? A new interface, Track comping, Masterworks Leveler plug-in, ProVerb Convolution plug-in, Final Cut Pro Integration, Enhanced Pro-Tools HD support and Direct Audio CD burning. Not bad! link
SPL Phonitor. Imagine you could mix solely in headphones. Imagine you wouldn’t have to pay for a studio space somewhere far away from cranky neighbors. The Phonitor could be the first product that could make this dream a reality. This is a high end piece of hardware costing about $2k. You spend a few minutes dialing in parameters to match the sound of your speakers with your headphones and viola! I can’t wait to read reviews and hear from users of this product. We need this to work! link
So those are the new things that really peaked my interest. Roland continued to bore me with it’s new Juno Stage and of course there were more amazing Melodyne Direct Note Access demos. Sonic State and Sound on Sound have some great videos from the show floor worth checking out. Did I miss something you really liked?
This entry was written by hardware and tagged API, Arsenal Audio, Korg, moog, MOTU, NAMM, nanoSERIES, Phonitor, roland, SPL. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
Here’s a technique I use on almost every song I record. This step gives me a helping hand in making transitions in the arrangement work. It also can add drama at the end of an important verse. I have a few names for this tactic including the Kickverb, Kickboom and the awesome Thunderverb!
Take the kick drum you are using throughout the track and isolate one hit. Make a new audio track and place the single kick drum on it. Don’t forget to render your kick first if you had some effects on it like compression or EQ. Once on its own channel insert a reverb. I usually go for Alitverb convolution reverb or the Korg MDE-X multi-effect which comes with the Korg Legacy collection. Both those reverbs have colors to them. Next, I render a single kick going through a wash of reverb. Do several bounces with different kinds of reverbs. You end up with Kickverb1, Kickverb2 and so forth. If your song calls for it insert a distortion plug-in after the reverb. This gives you a dirty decaying sound. My favorite distortion plug-ins are Izotope’s Trash and Ohm Force’s Ohmicide. Another thing to try is pitching your rendered kickverb down.
I usually create my Kickverbs after the general arrangement is finished. Then, I place them strategically throughout the timeline. Two places they fit include at the beggining of the chorus and in the verse after you say something shocking or important. You can also start and finish the song with them.
Some other things that maybe obvious that you can do is reverse the Kickverb. Place that “Reverse Kickverb” before the chorus comes in to build up tension. Of course you don’t have to stick to the Kickverb at all because real thunder and explosion samples will also work.
photo credit: caddymob
This entry was written by plug-ins, song writing, sounds and tagged Altiverb, Distortion, izotope, Korg, Ohmicide, reverb. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.