Archive for the ‘audio interfaces’ Category
Postponed Till Further Notice!
Unfortunately the event has had to be postponed until further notice. Keep checking back with a new date for this event .
Whether you are interested in purchasing SONAR V-Studio 700, SONAR 8, or just want to see it the two products in action, Cakewalk Product Specialists will soon be at the Leaf Tea Shop & Bar to offer one-on-one training and clinics .
And news just in on a new addition to the V series …
It’s called the V-Studio 100 and, unlike the flagship 700 system, it can operate with or without a computer.
Difficult to classify, the new device is in fact a number of products bundled into a compact, sturdy-feeling box. It’s got an eight-input mixer, on-board effects- and dynamics-processing, a metronome, and a built-in flash-memory recorder and player, but it can also operate as a multi-channel USB 2.0 audio interface and a mini DAW controller for Mac and PC.
Its single fader is motorised and touch-sensitive; two of the audio inputs
feature phantom-powered mic preamps, and there’s transport control and assignable buttons for mouse-free computer control. What’s more, the V-Studio 100 comes with a collection of plug-ins and virtual instruments, the VS Production Suite, which work on Macs and PCs and provide tools for everything from instrument-processing to peak limiting; electric pianos to wavetable synthesis.
As you can imagine, there are dozens of potential applications for the new V-Studio. Cakewalk say that it’s perfect for small bands performing live, who could play backing tracks from the SD card, while using the mixer section to feed the PA. Also, for home studio users, who need a basic USB interface, a mixer for signal routing, a stereo master recorder, and DAW control for ease of use.
Oasis songwriter teams up with Focusrite and Gareth Johnson to record and mix live sound for Teenage Cancer Trust…
Noel Gallagher at his Teenage Cancer Trust gig
Gareth Johnson is no stranger to recording live music. For years now he’s been drafted in for live mixing duties for the likes of Kasabian, The Who, Kaiser Chiefs and Duffy. Now he’s adding Noel Gallagher to a CV that’s littered with A-listers from the cream of major record labels and a stack of independents too.
For the last four years Gareth has also been involved with the Teenage Cancer Trust (TCT) gigs, an annual outing for the charity that sees them pack the Royal Albert Hall (RAH) for a week of stellar performances from some of the biggest stars of the day.
As a part of raising awareness for the week-long festival, which kicked off March 24th, Gareth has been drafted in to capture the sound of rock‘n’roll once again.
To coincide with this year’s concerts, Noel Gallagher released the recordings of his performance at TCT RAH in 2007. The Oasis singer and songwriter performed a selection of Oasis’ greatest songs, as well as some of his favourite tracks by other artists, including There Is A Light That Never Goes Out by The Smiths and Butterfly Collector with Paul Weller.
The new live disc, The Dreams We Have As Children, was released digitally and as an exclusive covermounted 11-track CD with The Sunday Times.
Over the years Gareth has become a tour-de-force on the live circuit, assembling a rig that he can rely on to get the best results – the artists he’s recording are global superstars, so there can be no compromise and no second takes.
Gareth and his Liquid Mix
“To capture the performance we use Focusrite Octopre preamps. I chose them because they’re reliable and neutral enough to leave scope for a wide range of mix options.”
“Then for mixdown, I need to be able to instantly recall settings on complex mixes with high track counts, which is where Focusrite’s Liquid Mix comes into its own. Working with racks of traditional outboard on projects like this would be a massive pain, but with Liquid Mix it’s just not an issue.”
“Basically Liquid Mix has revolutionised the mix process by enabling me to introduce some great tones and colour into my mixes. No patchbays, no dodgy cables – just a virtual rack stocked full of the finest outboard known to man!”
Using Liquid Mix also means I can keep costs to an absolute minimum, which is essential when working with the TCT. So the whole rig consists of Focusrite Octopres at the front end, then into the Macbook Pro (and Logic) before bringing in the Liquid Mix. Finally I run the audio through an external 16 channel summing box before taking a stereo mix back into the computer. Of course good monitoring is always important, and for this I use my trusted KRKs.
“The Liquid Mix is a real solution for a very real problem. Yes, of course I want bottomless pockets to buy loads of great outboard for my studio, but that’s just not going to happen. I can, however, afford the Liquid Mix, which is much more convenient and packs just as much of a punch. Ultimately, what we have here is a revolutionary product.”
“Dynamic convolution is a great asset in the studio. I own a few of the units that have been emulated on Liquid Mix, and while it’s nice to look at a rack full of expensive outboard gear, in the context of a large multi-track mix you would be hard pressed to tell the difference between the emulation and the real thing.”
“Liquid Mix is a great way to get character, colour and tone into your mix, and really useful for getting elements to jump out in the mix. I used API 550b emulations on the guitars, I love the 1176 on the vocal, while for the strings I opted for the Massive Passive emulation. Then I used the SSL G series comp to glue the mix together. And the results? Well, they’re just awesome.”
Liquid Mix at Dolphin
To view Oasis gear available at Dolphin Music, please visit the Oasis Artist Page
The idea : control max user interface directly within a multitouch screen. This “framework” consists in a set of max abstractions. to “multitouchize” a patch, you just need to place an “mmf.interface” abstraction in your patch, and add to presentation mode and give a name to all the UI object you wish to control with your multitouch screen… and that’s all ! MMF will do the rest… to talk about MMF, repport bugs, request features, share patches.
Max Multitouch Framework by composer Mathieu Chamagne makes turning your Max patch into a multitouch interface a breeze. When I first reviewed the Lemur, I was frustrated by the hardware-style abstraction between your software and the interface. Why was I having to go through Max patches painstakingly assigning Lemur controls to Max controls – why not just make the Max controls appear on the multitouch screen? Well, that’s exactly what you get with MMF. Using a set of Max abstractions, all you have to do is build your Presentation Mode style UI and add in the MMF ingredients – it automagically becomes touchable on a variety of displays.
It’s not hard to imagine how great this could be for musicians, especially those who have already been building original sonic creations in Max/MSP. Best of all, you don’t need an expensive, non-portable table with a projector inside, either – commodity hardware works just fine right now.
Look out, Akai APC40. There’s another contender in the emerging Controller With Lots of Buttons And Also Faders and Knobs and Crossfader product category. Livid’s Ohm64 combines the light-up button grid with faders, knobs, trigger buttons, and most importantly, unique customization options and a lovely wooden case. What’s unique about this one:
- High-end materials: anodized aluminum faceplate, “immersion gold-platted circuit boards” (guess that’s circuit bling), an optional wooden body (aluminum is available, as well, but wood is more fun).
- Not mass-market: hand-assembled, small-production Austin creation.
- Fully class-compliant, no drivers (also true of the APC as far as I know, but nice – and ideal for Linux, too, in case you want to run this with a netbook or a Pd-running souped-up *nix laptop)
- Open-source, customizable MIDI talkback: when you’re ready to customize just how those LEDs light up, there are included open source tools and fully programmable MIDI mapping
Bonus: it comes with a powerful, full-featured VJ app in the box, Cell DNA, though of course you can use it with anything you like.
The real story to me is the customization. Whereas the APC40 is entirely proprietary in design, has evidently limited MIDI mappings, and a mysterious mechanism for programming two-way communication, the Ohm64 is open, open source, and software-agnostic. If the open source thing catches on, that could mean a community of friendly folk thinking of smart ways to reprogram this thing for different apps. Ironically, that means that in the long run, the Ohm64 could wind up with better Ableton Live integration than the hardware Ableton chose to back – though all bets are off until we get these devices in our hands.
I would say the APC is probably more direct competition for the Ohm64 than the Monome, despite the 8×8 light-up buttons. The Monome is much lighter and slimmer, it takes a minimalist approach (no big knobs or faders), and uses OpenSoundControl in place of MIDI. The Ohm64 seems likely to appeal to those who weren’t Monome fans, and visa versa. And some lucky ducks are naturally going to own both.
But the important thing is that the Ohm64 joins the Monome in its crusade for open-source customization of a commercial product. Whatever the Ohm64 is when it ships, it’s that question of what people can do with it that may determine its real value. I have no doubt people will be reverse engineering the APC40, too — starting with figuring out how to fake the hardware “handshake” it uses so other devices can emulate it in Live. But it’ll be interesting to see how these different philosophies pan out, so to speak.
We’ll keep you posted….
Souce: Create Digital Music
Fat kicks and raw snares.
Vintage Beat Machines is a a sample library for MPCs containing all kinds of classic drums and percussion sounds. You’ll find some of the most common sounds, and some sounds you’ve likely never heard before. These sounds are from drum machines, beat and rhythm generators, and other synthesizers dating from the 1980s all the way back into the 1960s!
These sounds have the less-refined, more raw sound qualities that many producers prefer for their drums. Until now, building a library of these classic sounds has meant locating expensive and rare equipment – a time-consuming and costly process. With the Vintage Beat Machines Sample Pack for MPC, you’ll have everything you need in a single, affordable download.
According to the manufacturer, this sample pack works with all MPC models and contains samples and analog synthesis-based sounds from nearly all well-known units dating back to the 1960s.
This sample pack works with all MPC models and contains samples and analog synthesis-based sounds from more than 55 different beat machines.
- Sample library for all MPC models
- Classic drum and percussion sounds from drum machines, beat and rhythm generators, and other synthesizers
- Less-refined, more raw sound qualities
- Samples and analog synthesis-based sounds
- Sound from from more than 55 different beat machines