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Korg Kaossilator Pro

Tuesday, March 23rd, 2010

When we reviewed Korg’s groundbreaking Kaossilator, we loved its innovative approach to creating loop-based music and hoped that it might spawn a bigger follow-up.

Three years down the line, Korg has granted our wishes with the introduction of the Kaossilator Pro (KO-Pro), a much-improved version that offers a variety of new features and looks all set to build on the success of the original KO-1. Yusss!

Overview

Pulling the Kaossilator Pro from its box, it’s immediately apparent that this is a far more substantial unit than the original version. The form factor is almost identical to that of Korg’s Kaoss Pad KP3, with an all-metal construction and a bigger overall footprint giving the Pro a much more weighty, well-built feel than its predecessor.

One side effect here is that the Pro is less portable, requiring DC power from a mains adapter. Retaining the ability to run on batteries would have been a bonus, but Korg’s promotion of Pro as a studio and live performance tool suggests that it simply isn’t intended to be a mobile device like the original Kaossilator.

The layout of the KO-Pro will be familiar to anyone who’s used the KO-1, but a series of key differences reflect the new features on offer. The large X-Y touchpad is backlit, as on the KP3, and the gate arpeggiator has a new dedicated slider and button. A quick glance at the connections reveals an extra pair of RCA sockets and a mic input for capturing external sounds and using the vocoder.

Korg kaossilator pro

As if that wasn’t enough, the Pro features MIDI In and Out, an SD card slot and a USB socket to link it to your computer.

In use

The Kaossilator Pro is pleasingly intuitive despite a number of small changes to the original workflow. The four large buttons below the X-Y pad represent four separate loop locations, allowing complex multi-layered patterns to be built up with ease.

During playback, each of these pads allows parts to be quickly muted, assigned for recording or erased using the function buttons down the right hand side of the unit. The levels of loops can also be adjusted using the new mixer feature, allowing four-part sequences to be tweaked on the fly.

A few features from the mini KO have been omitted in the new version, with the lack of an undo function in particular necessitating a slightly different approach to working which may not be obvious to existing Kaossilator users.

All 100 programs from the KO-1 are included and supplemented by 100 new patches replicating everything from vibraphones to MS20 leads. Sliding your finger horizontally on the pad controls the pitch according to your chosen key and scale but most patches also offer a degree of expression control via your finger’s position on the vertical axis. Typically, moving your finger higher up the pad will control a variable such as filter cutoff, vibrato or the mix of a delay or reverb effect.

(3 pages; go to page: 2 3)

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Korg Kaossilator Pro

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Yamaha DTX950K electronic drum kit

Wednesday, March 17th, 2010

As one of the heavy hitters in the electronic drum market, whenever Yamaha releases a new e-kit, it’s always an occasion. And increasingly so. With the arrival of the Yamaha DTXtreme III flagship a couple of years ago, the Japanese corporation took a significant step up in terms of both playability and sound appeal.

And now they’ve improved the top end of their DTX range further with the introduction of the new DTX900 module and DTX950K kit.

Build

The big news as far as the kit itself is concerned is the arrival of the new DTX pads. These sport neither straightforward rubber nor mesh heads but instead benefit from a Yamaha innovation, the Textured Cellular Silicon Head.

Yamaha dtx950k electronic drum kit

Clever manufacturing sees air bubbles within the head material manipulated to alter the density of the head depending on application. So the toms feel softer than the snare head, for example, just as they’re likely to on an acoustic kit.

This being Yamaha’s new top-end offering, the whole kit is impeccably put together, and the chassis on which each head sits is very well engineered. Each of the drum pads is a hefty, well-sized and supremely tough unit, with plenty of rigidity to ward off mis-triggering. And indeed to cope with the rigours of regular set-up and tear down.

“Yamaha have made it easier than ever for their top-line kit to integrate with the world outside”

This is a kit designed to shrug off the most demanding use, as evidenced in the truly excellent Yamaha Hexrack that holds everything together.

As an acoustic drum-maker, Yamaha has masses of experience of traditional hardware to draw on when it comes to putting together this kind of electro kit. And in fact it draws directly from its acoustic hardware range for the rig here.

Despite having six pads, three cymbals and a module mounted on it, the rack is a thing of beautiful simplicity and fits together with no fuss whatsoever. It’s a joy to assemble, which is a rare thing indeed. Hugely sturdy and boasting a fair old footprint, there’s no undesirable movement from any part of the rack – and memory locks and over-engineered clamps do sterling service in making consistent set up both quick and secure. Ace.

In terms of what’s mounted on the rack, Yamaha treat us to a 12″ snare, two 10″ high toms, a pair of 12″ low toms, two 13″ ‘crash’ pads and a 15″ ‘ride’. The sizing strikes a good balance between usability and compactness; if you’re long of limb the rack allows plenty of scope for a big, expansive set up, but if you like things cosy and close together, the size of the pads doesn’t conspire against you.

(3 pages; go to page: 2 3)



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Yamaha DTX950K electronic drum kit

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Moog Moogerfooger MIDI MuRF

Thursday, November 5th, 2009

The Moogerfooger MuRF already comes in two flavours, the standard version and the bass version. This latest revision rolls these two variants into one unit with a switch to change the filter ranges between mids and bass, but the most important change is the addition of a MIDI input.

Though the MIDI MuRF still possesses CV (Control Voltage) inputs for parameter control, as with all Moogerfoogers, the introduction of a MIDI input allows for full external parameter controls via this more widespread protocol.

Before looking at what can be done via MIDI let’s first look at what the MIDI MuRF can do on its own.

Overview

The MIDI MuRF is an array of eight resonant band-pass filters, the individual levels of which are set by the eight sliders. These filters are controlled by the animation parameters (Pattern, Rate, Envelope and LFO), whilst the Drive (input), Mix and Output knobs adjust the overall effect blend. The animation controls can be adjusted via CV and/or foot controllers/ switches via the input jacks at the rear of the pedal.

Moogerfooger midi murf

The Pattern selector accesses 12 animation step sequences per frequency type (toggled via the Freq switch). The first of each 12 has no animation and turns the MuRF into a static filter array which can be used to achieve some lovely scoops and peaks. The LFO switch adds some basic movement to the sound as it sweeps the filter frequencies as a group, though this requires CV or a foot controller to adjust the rate.

“The MIDI MuRF is an array of eight resonant band-pass filters, the individual levels of which are set by the eight sliders.”

The essential character of the MuRF kicks in with the other 11 patterns, which are pre-programmed sequences with anything from eight to 64 steps. These sequences trigger an envelope for each of the eight filters, the shape of which is determined by the Envelope knob (more later). The clever part is that the triggering can either be momentary (on for a sequence step only) or latched (on until the next trigger which turns it off again). This produces rich variations in patterns that may take several revolutions around the sequence to resolve.

Changing the filter levels further adjusts the balance within the patterns to radically change their rhythmic emphases. This effect is generally referred to as ‘step filtering’.

Envelope

The Envelope control is just one knob and sets the behaviour for all the filter triggers. At its 12 o’clock position the filter attacks and decays are even and resemble a triangle wave, but by rotating clockwise/anti-clockwise the attack/decay is lengthened, thus smearing the filter overlaps in time. Further rotation starts to shorten the whole envelope so a more pulsed shape is achieved, which works wonders for harder rhythmic patterns.

The Rate knob controls the overall stepping speed, with a corresponding LED flashing red to indicate it. When a foot switch is used in the Tap/Step socket the LED will flash green to indicate the tempo – a small detail, but it really helps when it’s on the floor amongst a mass of other pedals.

On the subject of LED colours, the Drive knob controls the input gain and can be used to introduce some smooth distortion into the signal, and so the corresponding LED goes from green (signal present) through yellow (optimum level) to red (clipping occurring).

Another detail that impresses us about the MIDI MuRF is that when both output jacks are used the filters are split so that the odd numbered ones go to the left and the even numbered ones go right, which creates great stereo panning tricks.

(2 pages; go to page: 2)



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Moog Moogerfooger MIDI MuRF

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Digital Sales Up, But is Apple Monopoly the Price? NPD, Mint Data, Editorial Analysis

Tuesday, November 3rd, 2009

digitalsales

Data and images courtesy Mint.com.

Mint.com, the online financial management tool, has put its numbers together with market researchers NPD Group to analyze music spending. The results: when it comes to consuming recorded music, digital music continues to rise. At the same time, so does Apple’s grip on the music consumption market, a combination that includes proprietary control of a music store, a music player, and the leading mobile device.

marketshare

The NPD data should look familiar. Digital music is growing, and clearly it’s at the root of the record industry’s loss of revenue as consumers shift from physical to digital media. Also, Apple’s iTunes remains the lion’s share of the market – enough so that they effectively control distribution, pricing, and consumption patterns, the very definition of monopoly by most measures. (That’s even before you get to Apple’s effective monopoly over the computer player and mobile device, though my suspicion is that an all-out attack on the portable device could start to chisel away at all three.)

Even in the NPD data, though, there’s an interesting indicator: note that the “Other” category is roughly the same size as Apple’s main competitors. That suggests that there’s a plurality minority. And oddly enough, it’s right in the middle of this mysterious “Other” category that a lot of unknown music artists make their dollars, selling direct to listeners or going through niche sites. Artists I’ve talked to in the electronic genre have almost universally said they make nothing on Apple, while they do very well on a site like electronic-specific Beatport. And unlike physical media, it’s not a big deal for someone who loves electronic music to drop their favorite tunes manually from the Beatport store into iTunes and an iPhone.

Dig into the Mint.com numbers, and you see just how different stores can be. Per-transaction spending differs by an enormous margin. Brick-and-mortar retailers sell a lot more per transaction. True, this could include accessories like headphones at stores like Sam Goody, but it’s also interesting to note the gap between stores like eMusic, Rhapsody, and CD Baby, and the smaller per-transaction buy at iTunes.
spendper

While Apple buyers aren’t spending as much per visit, they’re visiting more often, and Apple’s move to variable has made a big difference. Buyers have gone from purchasing an average of 2-2.5 transactions to well over 3, coinciding with the introduction of variable pricing.

transperuser

If you’re not a fan of monopolies, there’s just not much to be done to spin this data. As digital consumption has grown by an order of magnitude, nothing has happened – thus far – to change Apple’s dominant share of the market. And as you can see in pricing statistics, within the Apple ecosystem, Apple has been enormously effective in controlling the pricing of the product and spending habits of the consumers.

On the other hand, looking at the inverse situation, a lot of the most interesting activity is happening outside either the former brick-and-mortar or new digital iTunes economies. We don’t have data on a lot of these niche stores (Dancetracks, Beatport, Bleep, and so on), which grow in number and variety. We don’t have data on direct-to-consumer sales by artists. And we don’t have much data on legal free music consumption, music released as Creative Commons or pay-what-you-will. Just criticizing Apple for their popularity could miss out on what’s happening in these alternative channels.

Many of these channels have no obligation to share their statistics, but to any who are interested, I’d love to talk to you. (And I think CD Baby winds up being the most interesting stat here.)

This is also an excellent illustration of what online analytics can do with financial data. It certainly won’t ease anyone who prefers that this data remain private, but fans of analytics might also see potential for collective learning experiences from shared data. Data like this had long been privileged only to banks and credit cards; a service like Mint allows users to share such data with one another.

So, how are you spending on music?

And would you find it useful – or disturbing – to have that kind of data shared anonymously with other consumers?

Originally posted here:
Digital Sales Up, But is Apple Monopoly the Price? NPD, Mint Data, Editorial Analysis

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Taylor Big Baby

Monday, August 24th, 2009

The success of Taylor’s smallest and by far its least expensive model, the three-quarter size Baby, introduced back in 1996, may have taken the company by surprise, but, unsurprisingly, Taylor responded with the introduction of another similar, but fuller-figured model.

Sticking generally to the same structural and visual template, a full 25.5 inch scale length now replaces the Baby’s 22.75 inch scale. An increase in demensions has created a 15/16ths size dreadnought body, although it is, proportionally, slightly shallower than a regular dreadnought.

New Neck

One of the original Baby’s unique features was its neck joint. Its development helped pave the way for Taylor’s ‘new technology’ necks. The Big Baby’s neck is almost identical except for some internal modifications to the neck block.

A little bit like an electric bolt-on design except the cross-head screws are sunk in through the fingerboard – this virtually heel-less neck is mounted into a precisely machined socket, routed out of the soundboard and the underlying section of the extended L-shape neck-block. This might sound like a flimsy platform for an acoustic neck, but it’s really an extremely rigid structure.

Apart from the advantages of being quickly and easily removable/re-settable, this also results in the mahogany neck extending all the way to the end of the ebony fingerboard, with no part of the latter joined to the soundboard. It is this basic principle – avoiding the distortion of the fingerboard due to soundboard movement – that is behind the NT neck, although that is a considerably more complex, intricately machined design.

The remaining construction details couldn’t be simpler. Although the top gets a regular X-shape spread of scalloped braces, the Big Baby body doesn’t used kerfed linings (apart from a couple of two-inch sections at either of the upper bout’s main brace) and there’s no bracing on the back.

Instead, the back is given a pronounced arch, for rigidity and improved projection, that looks similar to that of an f-hole jazz guitar, but is pressed rather than carved into this shape. It isn’t possible to mould solid wood in this way, showing that Taylor has made creative use of these laminate panels with this design.

With no linings, the internal join between back and sides is, understandably, a little more gluey than we’re used to with Taylor. With no purfling, binding or scratchplate, the soundboard is a Spartan affair, but the laser-etched rosette is a subtle yet phenomenally precise work of hi-tech art.

The two-piece neck features the new NT-style finger-jointed headstock, offering a neat, structurally reliable and resource saving alternative to the one-piece concept. Aside from the arguably unsightly crew heads (there for the sake of honesty, apparently) the fingerboard and frets are quite immaculate.

The headstock is veneered with Lexan (a trade name for a polycarbonate material) and houses a mechanically solid sextet of tuners. Though normally purveyors of Tusq nuts and saddles, Taylor has opted for a non-brand substitute here.

The choice is a commonly used, hard, durable phenolic plastic (Micarta is a well-known trade name for phenlic). As you’d expect, they are respectively seated and slotted with extreme accuracy, although they could both do with some smoothing of their sharp corners. It’s reassuring to see that the solid ebony bridge is as finely buffed and bevel-edged as you’d expect on any Taylor.

There’s a grainy, occasionally rough but natural look to this thin mat-satin finish, which adds to the puritanical, sparse look of the Big Baby, but there’s nothing half-baked about the way this guitar has been assembled.

(2 pages; go to page: 2)



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Taylor Big Baby

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Kenton announces USB SOLO MIDI to CV interface

Tuesday, July 28th, 2009

Leading electronics experts Kenton are well known for their rock-solid products that form the hub of many a recording studio worldwide. Now with the introduction of the USB SOLO they’ve ensured MIDI to CV conversion just couldn’t get any…

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Kenton announces USB SOLO MIDI to CV interface

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