We’ve reached the mature age of music apps. You’re likely to use fewer of them, and the landscape is saturated with the most popular ideas. It’s also clear that iPad, not Android, is the viable tablet platform. But the few apps that are left standing as serious music tools are better than ever. They’re easier to integrate with your computer and standalone hardware, and they feel more like instruments and less like toys. They walk some line between making music production more accessible to beginners, and offering refreshing simplicity to people who are mixing them with other gear. And Skram, …
Richard Devine’s Vimeo account is something special. It’s certainly partly theater – there’s something entirely alien about seeing a nest of gear, tangled in cables and blinking, as if modules have achieved sentience and starting interconnecting themselves. But behind that facade of nerdy chaos is some real thought about how to make sounds by creating unexpected combinations of signal processors. It’s something I’ve been discussing with a lot of people lately – this interplay between stability and instability, automaton and entropy.
Don’t like clicks or beeps or other sounds when using a metronome? Try some haptic feedback instead, with this free utility.
Tresor has left a rich legacy to electronic music – one that has defined a lot of what “techno” means – and not least of all through the Tresor Records imprint. So as follow up to our preview of the Tresor 25 festival, we’ve partnered with Beatport to share a set of 25 tracks that trace a small slice of that deep catalog. It includes some old classics, the younger generation carrying that torch, and gems like Objeckt’s terrific continuous mix Kern, Vol. 3 (with still more music, so… kind of more than 25 tracks, actually).
Puremagnetik are one of the most experienced sound library houses around, with a resumé that includes collaborations with Ableton early in the history of Live. And evidently they want you to get to know them better, as they have a gigabyte of free sounds on offer showing their work. Included is both soundware and Device Racks for messing about – so this isn’t just a loops library. You get: Modular loops (building blocks for pieces to get you started) Various Effects Racks Film Score sounds Waveframe, which emulates the Ensoniq Fizmo’s Transwave Synthesis (think morphing wavetables) Vintage Chips, with lots …
For years, the criticism of laptops has been about their displays – blue light on your face and that sense that a performer is checking email. But what if the problem isn’t the display, but the location of the display? Because being able to output video to your hardware, while you turn knobs and hit pads, could prove pretty darned useful.
Is IDM cool again? Like even calling things IDM? We think so. Now, there’s probably lots we could say about Autechre, but that’d take precious time away from you listening to all the Autechre-y Autechre that just Autechred into your Autechre. So, let’s just cover the facts, ma’am, in quick order – and they’re all pretty awesome. Of course, spoiler, all your fellow music nerd friends have been talking about nothing else on their Facebook feed today, but at least we can put this all in one convenient location:
In the latest chapter of “people on the Internet doing cool things for electronic music,” here’s a creation by Polarity. It lets you rapidly trigger effects parameters via MIDI. And if you’re a Bitwig Studio enthusiast, it’s available for free.
With so much to talk about in recent days about Prince’s legacy, it’s possible to overlook just what a deep impact he had on production and sound design. Working with Roger Linn’s classic boxes, the LinnDrum and LM-1, the artist left an indelible mark on the sound of pop. And you don’t have to slavishly copy those contributions: by learning how they’re put together, you can understand what went into them and follow your own sound. Just that sort of education in sound design – something for fans and students – is embodied in a free download for Ableton Live …
This one’s too good to wait. Gustavo Bravetti, the Uruguay-born producer and DJ, is already something of a maximalist. He’s the sort of person who can rock alternative controllers live on a mainstage in front of massive festival crowds – the powerful counter-example to the notion that such high-pressure gigs have to be press-play. And now, he’s been hard at work on a powerful tool for expanding the possibilities of performance on Elektron’s hardware, all using Push for control. I could ramble on, but the best way to follow this is to watch the extensive tutorial video he’s just posted: