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Tek’it updates Kutter to 1.1.1 and announces Kutter 2 coming in August

Saturday, July 9th, 2011

Tek’it has updated Kutter to 1.1.1 and announced that Kutter 2 is coming in August, 2011. Kutter Version 1.1.1 includes several bug fixes, mainly on the preset management side, and the demo has a new… [Read More]
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Open-Source Rockit 8-bit Synth Kit Coming

Friday, July 8th, 2011

Chicago-based hacker and synthesist Matt Heins is working on an open source synth kit. As a co-creator of the MeeBlip open source-synth hardware, I’m biased — I want more open synth hardware! So this is looking like some great company. The instrument is 8-bit, with analog filter circuitry, coded in C. The specs:

Fully Open Source Hardware and Well-Commented C Software Design
Digital Analog Hybrid Circuitry
2 Digital Oscillators with 16 waveshapes, updateable to more
2 Low Frequency Modulation Oscillators with 10 destinations
Innovative Digitally-Controlled Analog Filter with Low-Pass, Band-Pass, and High-Pass with Envelope Control and External Audio Input
Analog Voltage-Controlled Amplifier with Envelope Control
Drone/Loop Mode for Playing by Itself
19 Knobs to Twiddle and 8 Switches
Full MIDI Input and Output
Sound Patch Save and Recall

I think the self-playing mode is particularly clever, and of course having presets is nice. There’s already a PCB and lots of interesting discussion of the design and sound on the blog:
http://hackmeopen.com/

And, as seen in the video, this is a Kickstarter project – invest early, and down the road you’ll be at the top of the list to get a synth.

Since this is likely to raise some comparisons to the MeeBlip, I can summarize: for now, the MeeBlip uses a digital rather than an analog filter, it’s a 16-bit synth rather than 8-bit, and it comes in a case if you like. We’ll have more of an update on the MeeBlip soon, but it will be available for sale again this month, alongside an updated Special Edition and reworked workflow. Also, by the beginning of August, I’ll have tutorials on how to code for it very quickly without any previous experience with programming (yes, even in Assembly).

But I’m excited that there’s a range now of open source music hardware; I will try to do a full write-up soon. And in the meantime, Matt, I hope I make it to Chicago in the next couple of months and we can say hi — the synth is sounding great, and I look forward to trying it! The dream of an open music-making hardware rig is now very close to fruition.

If you do want to get onboard on Kickstarter:
Rockit 8-bit Synth Kit


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Coming Home: America and the UK, Dance Resurgence, Insanely Great Flying Lotus and Stones Throw

Friday, June 3rd, 2011

Techno originator Juan Atkins. Now, dance music may finally be coming home properly to stay. Photo (CC-BY-SA) Adrien Mogenet.

Any one of us, myself included, may break at any moment into armchair analysis of the music scene. But it’s worth asking an expert. Taste-setting, deeply influential DJs Pete Tong and Gilles Peterson of BBC Radio 1 recently stopped by National Public Radio’s thoughtful music program, All Songs Considered. Joining the American hosts, the BBC stars play favorite tracks and weigh in on the connections in electronica and club music in the US and the UK. The timing was appropriate: with DEMF taking over Detroit, that same world scene was returning to the cradle of the techno genre. But the message might surprise you: according to Tong and Peterson, the US is in a full-blown dance resurgence. It’s about time.

This isn’t the first time England has exported back to America tastes America helped define. Just ask the Beatles, who were able to market folk and country traditions, Everly Brothers harmonies and practicing guitar licks, more successfully than American artists had been in their own country.

Imagine what is possible now. Today, you can almost certainly have an easier time tuning into BBC Radio 1 from anywhere on Earth than you can a terrestrial radio station just a few miles away. Electronic dance music, while it may draw its roots from the likes of Juan Atkins and Frankie Knuckles in Detroit and Chicago, is arguably a hybrid, global and transnational by definition, and both American continents alongside Europe, Africa, and Asia, continue to forge its style.

All of this makes it more noteworthy that Tong and Peterson are finding the US increasingly fertile ground. Outside the over-saturated UK, BBC Radio 1 DJs are doubly superstars. These Radio 1 legends report that the act of gigging in the US – fueled by demand in the unfairly-dubbed “flyover states” – is better than ever, and even better than anywhere else. (Where but the US, they say, can you do a 7-day-a-week tour?)

In just those places, people are rediscovering classics like Lil’ Louis’ “French Kiss.” And in turn, those records may come to mean something new and refreshed, transported into new contexts.

In making their argument, and tracing some exemplary records, these two also make a case for a dance music more informed by tradition than flavor-of-the-month trend. It’s fitting that older records are finding new audiences, or that new styles are more conscious of their antecedents. The program also offers some perspective on English club culture, and without hopping on a soapbox, suggest the US may have paid a cultural cost for societal squeamishness about difference and homosexuality. Beyond what gets gigs or prompts dancing in the club, that suggests a grander societal significance to all these great records.

But Americans looking for some hope, I think the message of this recording is as clear as the title of the last song: “Coming Home.”

Flying Lotus, live. Photo (CC-BY-SA) sunny_J/jenslime.

Let’s turn it over to Flying Lotus…

It’d be unfair to allow the UK side to monopolize this conversation, so let’s look at one of the US artists who has helped lead the US dance resurgence. Flying Lotus, himself popularized by BBC Radio 1, has been a tremendous force in supporting the blossoming scene around Los Angeles.

I think he can say as much musically as any other way, so take a listen to his recent podcast for Stones Throw records. Pulling some surprising cuts into the mix, he spins a dreamy, future-retro, soulful-spectacular world. As out of a parallel analog reality, warm and fuzzy vinyl crackles through a gauze-covered lens, but paints a futuristic landscape.

Perhaps Steve Ellison was assembling this deliciously-curated wonderland in a trance, because there’s absolutely no track list. (I’m holding out hope that maybe he’ll reveal their provenance; we’ll see.)

But a future portal opened by the past, steeped in soul and jazz, seems just the kind of universe that could give electronic dance music a second renaissance. So, I’ll best shut up at this point and let you listen.

Good listening

Hear the whole NPR program, and find additional commentary and track selections:

Pete Tong And Gilles Peterson On Dance Music, UK And American Style [NPR Music: All Songs Considered]

This Week On All Songs Considered: America In The Grips Of Dance Fever [All Songs Considered Blog]

And be sure to subscribe to Stones Throw’s podcast, picking up episode 66 for Flying Lotus:

More FlyLo — a full live set, also via NPR Music:
Sasquatch 2011: Flying Lotus, Live In Concert


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Words and Music: New Brian Eno Coming on Warp, with Rick Holland Poetry; Listen Now to ‘Glitch’

Tuesday, April 19th, 2011

Artwork by Brian Eno. Courtesy Warp. Used by permission. (Click for full-sized version. I like to get my eyeballs up against this one.)

Packed tightly with interlaced rhythms, set against crisp cool intoned lyrics, the first cut of Brian Eno’s forthcoming “Drums Between the Bells” from Warp can give us all reason to look forward to the summer.

Mr. Eno has been on something of a roll lately. We’ve certainly gone through periods when he wasn’s necessarily in command of electronic headlines in music, even as he contributed in other ways – the 90s brought pioneering work in generative music software and the infamous sound set for Windows, for instance. Now, he’s had back-to-back major releases in recent years.

2008: Spore (the videogame, the soundtrack for which may have overshadowed the actual game title), Everything That Happens Will Happen Today with David Byrne

2009: New live work, score for Peter Jackson’s The Lovely Bones

2010: Small Craft on a Milk Sea with Jon Hopkins and Leo Abrahams

And now we know what’s coming for summer 2011: Warp Records, July 5, a full-length with Rick Holland entitled “Drums Between the Bells”

The stunning cover image, as much alien patchwork quilt as glitch, is Eno’s own creation. You can preorder vinyl with high-resolution digital for just $ 21, but $ 39 gets you the hardback two-CD set with instrumental versions of the tracks (perfect for a late-night painting session when you don’t want to be distracted with poetry), plus a forty-four page book. Typically, such books are superfluous to the musical experience, but here, with Eno himself as accomplished in visual media as musical, they’re almost a no-brainer.

Eno book and two CDs for forty bucks? Yes, please. Photo courtesy Warp.

Bleep has your pre-order options.

Give the first track released a listen:

Brian Eno – glitch (taken from Drums Between The Bells) by Warp Records

More details:
http://brian-eno.net
http://warp.net/brian-eno

The Guardian’s take

The poetry

So, who’s this Rick Holland, anyway?

It’s perhaps best answered with his words, which to me sound unaccompanied as though they already have Eno music behind them – the forward-moving staccato cadence, the interwoven reflections of a modern electronic age, the unassuming zen echoes, the amiable ambience of the thing. Here’s his Orange Notebook Philosophy, from his blog:

flutter eyelids against the pillow
flashes behind the eyes

the sounds are computer processors

the mind reflects on itself

on what it can simulate

and it becomes that thing

the imagining becomes event

and event leads to event

so the imagining becomes

in retrospect

equally an event. The computer processor

flutters and electric outbursts

merge data with data

and en route

creates florettes of accidental light

enough to capture the path of animated thought

and divert to a place at once utterly surprising and real within us.

He is mindful of the world around him, but he’s no elitist: he pits the Marquis de Sade against Sasha Fierce.

Read his posterous blog – evidently a new outlet for poetry. Follow him on Twitter (of course).

Rick is musician as well as poet, just as Eno is artist as well as musician, and has various collaborations around London, it seems. Like many of Eno’s collaborations, this one is long-standing, dating to 2002.

http://www.rjholland.com/

And as with Eno’s other recent releases, Eno has a talent for finding other resonant minds to present.


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Brainworx bx_digital V2 EQ and SPL Vitalizer MK2-T coming to Universal Audio’s UAD-2 Powered Plug-Ins Platform in Q2 2011

Tuesday, April 12th, 2011

Universal Audio has announced the impending release of the first new “Direct Developer” plug-ins for the UAD-2 Powered Plug-Ins Platform: the Brainworx bx_digital V2 EQ plug-in and the legendary SPL V… [Read More]
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FireWire800, ExpressCard Survive MacBook Pro Revision, So You Can Relax; Thunderbolt Audio Hardware Coming

Thursday, February 24th, 2011

Photo courtesy of Apple.

Those of you in the market for a new MacBook Pro are no doubt already tuned into the product news. So let’s talk about what isn’t changed on the new MacBook line, because it’s a good thing.

  • You still get FireWire 800 ports on all models, including the entry-level 13″ machine.
  • ExpressCard is still standard on the 17″ MacBook Pro.
  • Your dongles for video adapters still work.

I’m researching implications for audio of the new Thunderbolt connection. My guess is it’s a little too early to say; 10 GBps storage sounds fantastic, but it’s far beyond the needs of all but the craziest audio applications. (That is, fast FireWire and USB drives work really well already.)

Where you’ll see it in audio is likely two places: one, more high-performance audio I/O, and two, clearing the bottleneck with DSP chips that has long plagued external hardware DSP. The latter is maybe a bit ironic as we look at ongoing performance gains from GPUs and integrated architectures there, but it’s no accident that Universal Audio and Avid are excited about it, as they have DSP products. And enthusiasm from Avid and Apogee means you can expect to see high-end audio with lots of I/O for this format. See the Intel technology page. As for specifics, we’ll be watching.

For adoption, this is certainly big news. Thunderbolt faced a chicken and egg problem; Apple is the 800-lb chicken.

The short version of the other specs: these machines are faster. Again, though, current audio applications run pretty well on the previous machines; I’m pleased to say we’re now in a place where people aren’t red-lining their CPU every day.

In fact, for those reasons, if you want a bargain on a MacBook Pro for audio work, now could be a great time to pick up a closeout on the old machine. On the audio side, the new models are largely appealing because their Thunderbolt port ensures future-proofing for whatever comes next – without having to give up the I/O on the previous models.

More discussion on the Motion side, focusing, naturally, on what we know about the graphics chips:
MacBook Pro Revision Updates GPU, adds Thunderbolt, but No New Display Dongles (Phew)

And yes, you have choices in this competitive marketplace, including PCs. But there you go – anyone who thought we’d see a step backward in I/O today can now exhale. And anyone looking for greater architecture performance, your machines have arrived. And anyone saying that laptops aren’t still awesome and improving in the age of low-end mobile and tablets? You’re just kinda all-around wrong. As for tomorrow, well, who knows, who knows…


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Reaper 4 is Coming, Adding More Flexible UI to Lightweight PC-Mac DAW

Saturday, December 4th, 2010

Reaper 4.0 has hit prerelease, the latest version of this $ 40+, lightweight (measured in a handful of megs) DAW for Windows or Mac. The banner feature is called WALTER, “Window Arrangement Logic Template Engine for REAPER.” The idea: you should have your music production screen look the way you want, with elements moved to whatever you like.

Jeffrey James points us to this release and explains that the feature allows you to “design the DAW the way you want it.” For instance, normally Reaper displays meters horizontally. Add a snippet of code telling it that’s not what you want — “set tcp.meter [290 28 12 51 1 0 1 1]” — and you get vertical meters, as seen below. If the idea of hacking your UI sounds unappealing to you, I expect there will be legions of Reaper users posting snippets so you can easily find what you want.

Customization will work per track, globally, in themes, and adjusts appearance, position, size, alignment – the works. You might simply download a theme you like, or hack a particular feature that’s bothering you. For anyone who has said about music software “great, but I wish xx looked like –,” this is the release for you. (I shudder to think how many feature requests for music software looks like that.)

Full explanation and discussion on the Reaper forums

Walter, the SDK has greater technical detail – really cool stuff

WALTER is just one among many small improvements in Reaper 4:

  • Takes are improved, and it’s now easy to turn takes into comps
  • A “Project Media / FX Bay” consolidates the elements you use in a project
  • New tools for time selection, area selection and editing, and mouse modifiers should make editing quicker
  • A 3D surround panner, combined with multichannel input, output, and monitoring improvements, makes going beyond stereo more flexible, while…
  • …if you do choose stereo, you get new panning and stereo width
  • Input FX chains per channel combine audio and MIDI processing into a single bundle of effects
  • with options for processing and monitoring

– among many other improvements.

The Reaper developers have a pretty transparent approach: each major feature has a message board associated with it on their forum so users can discuss and ask questions:

v4: Prerelease overview

Or check out the full changelog:
v4: Everything else

Let us know what you find in the new release, Reaper users. (Also, selfishly, I’m curious about running Reaper in WINE on Linux, if anyone else is doing that.)


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JRA TV – Episode 3 – Beat Making 101 & Freestyle 101

Thursday, August 6th, 2009

Become a fan on my Facebook Fanpage!!! www.facebook.com My Music Myspace! www.myspace.com Follow me on my Twitter page! twitter.com My Tumblr. jraquino.tumblr.com My Blogspot! http and last but certainly not least. Become my friend on my Personal Facebook! www.facebook.com Booking Contact: jraquinomusic@gmail.com

http://www.youtube.com/v/QlWfe1GpjW4?f=videos&app=youtube_gdata

See more here:
JRA TV – Episode 3 – Beat Making 101 & Freestyle 101

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