Well, it didn't take long, did it....A tribute to the King of Pop; Michael Jackson. R.I.P. Featuring The Game, Chris Brown, Diddy, Polow The Don, Mario Winans, Usher and Boyz II Men, produced by DJ Khalil
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Much has been said, and much more will be said in the weeks and months to come, about Michael Jackson, who tragically died on Thursday. Even now, it stills feels weird and surreal, much like the latter part of his life really.
I wouldn't class myself as a fan, to be totally honest. Certainly not in the same sense that I am a fan of other artists, but there is no doubt that I, like most people, totally admired his work. He was the ultimate accessible song & dance man. His appeal was so far reaching and inspiring to so many. Was he the greatest ever? Debatable. The greatest what, exactly? Jackson was not a singularly talented man. His body of work was the culmination of a great many talents and contributors, all sparking off the imagination of Jackson. He was a catalyst. His music was a combination of self composed material, co-writes or songs by other writers. Rod Temperton goes vastly unnoticed as the man who wrote some of his best known songs and Quincy Jones' production polished the material to make it what it is today; a benchmark in popular music. He was a modern day Gene Kelly or Sammy Davis Jr. Song & Dance was his game. He didn't bust out killer riffs on a piano or guitar, but he choreographed and danced his way around the world, all backed up by his own incredible instrument; a voice of soul, dynamism and power.
Michael Jackson ceased to be a viable and relevant musical force a long time ago. No new material since 2001's "Invincible" album and his best work being that classic triumvirate of albums, "Off The Wall", "Thriller" & "Bad". After that, he became a parody of himself. The unparalleled fame and notoriety rarefied his world even more than it was previously and we saw him turn from artist to freakish sideshow act in a shockingly, and tragically short amount of time.
That said, whether you liked his music or not (and I imagine there are very few people that completely disliked all of his output) you could not deny the showmanship, professionalism and quality of his work. His material was an indulgence of not only his peers and admirers, but also a guilty pleasure of many people you would not immediately think of as Jackson fans. His vision of performance single-handedly inspired every other musical genre. To witness a Jackson video or live show was to see a full scale theatrical event and even the most extremes of the music industry stole inspiration from them.
Whilst we should all try to forget the "other side" of his life, the side that had nothing to do with his musical talents, it simply cannot be swept under the carpet. His financial extravagance was the stuff of legend. Many of the more famous stories (the masks, Bubbles, the oxygen sleeping chamber) were just other performances and as well choreographed by Jackson as any one of his stage shows. He gave the media and the celebrity hungry public what they wanted, but the price was heavy, and his social ineptitude, exacerbated by having to live his quite unique life in the public gaze, made him even more eccentric and outlandish. His dalliances with young people soon began to generate the most controversial and unwelcome accusations of his life. And it was to haunt him for the rest of his days.
In my humble opinion, none of us can even begin to comprehend what his life must have been like. Taken as a child, by his father, and along with his brothers, made to work and perform with little or no time to grow up and interact was only ever going to have a major adverse effect on him. We take for granted, the ability to socially and physically interact with others of our own age. And it is what Michael never got. The child in him was suppressed into almost total non-existence. So was it any wonder that when he eventually had the ability to express his inner child, it manifested itself in such an elaborate and enormous way. It is my belief that he surrounded himself with young people to simply satisfy his own urge to be a child again. Maybe some of the awful accusations were based in some truth, although he was never found guilty of any crime, but he clearly couldn't understand a rational adult point of view that his actions could be construed as inappropriate. It is also fairly safe to assume that parents and lawyers saw an easy (and wealthy) target and did whatever they could to screw him for everything they could. And of course, the media fed off the whole thing as only they can, further perpetuating the misinformation and speculation, simply to line their own pockets at the misfortune of others.
It would be entirely safe to assume that in the coming months and years, we will begin to see and hear many people coming out of the woodwork, all with stories to sell.
His own insecurity with his self image and appearance was also a major part of his public persona. Whether he had a skin disorder or not, there was no getting away from the fact he felt totally uncomfortable in his own metaphorical skin and sought to change himself as much as he could. Was it a subconscious effort to build a "mask"? Was it a form of elaborate self harm in reaction to paternal jibes? Was it medically necessary? We will probably never know, but the shell of a man we saw a few months back in London was a far cry from the handsome young man of the 60's and 70's. It is heartbreaking to see pictures of him back in those days, full of youth and boyish good looks, a handsome African American man with all the alluring physical traits that that brings. His self destructing actions were left unchallenged by those close enough to him to care and they must all accept some responsibility for the damage he did to himself.
And it was this self harm that may well have been the driving force behind the events that led to his untimely passing this week. His alleged addition to pain killers, taken to suppress pain induced by years of physically demanding performances and the constant and unnatural abuse of his physical appearance may well have rendered his internal functions so weak and fragile that they simply said, "No more". Toxicology reports due by the end of July will confirm or deny this, and reports just today claim that a dose of morphine administered by his personal physician may well have been the final straw.
So now, we are left with a cultural void of sorts. No doubt, we will see a massive resurgence in sales of his back catalogue. Bets are already off him making No.1 in most charts around the world this weekend. The funeral will be a spectacle of equally fantastic and embarrassing proportions. Conspiracy theories are already rife, and will only grow with time.
And will the world learn from this? Probably not. Society will still crave it's idols to worship and ridicule in equal measure. It will hound these individuals, demanding them to perform the sick and bizarre dance of celebrity until it either tires of them or kills them.
At least now, Michael Jackson can rest in peace, free from the obvious pain and suffering he endured both physically and mentally and our memory of him can revert back to one of what he did better than almost anybody in the history of this world.
The ultimate song and dance man.
I just had to share this with you. Tara was asked to do a remix of this track and her equally talented partner, Maf, filmed the process and the result is a very interesting insight into the remix process and also Tara's beautifully quirky, yet eloquent musical mind. I have placed all nine short clips into a single playlist for ease of viewing. To acquire the full remix track for free, visit Tara's website and follow the links therein ;o)
The advent of Spotify and the joyous way it enables you to listen to music online has been nothing short of revolutionary. Sure, there have been numerous ways of streaming music legitimately for some while, but not as easy and as satisfying as Spotify. And because it is so easy, the concept of playlists has taken on new life. With a Spotify playlist, music can be shared quickly and, best of all, collaboratively. And because of the surge in popularity, websites like ShareMyPlaylists.com have sprung up all over the place. I could mention the others, but a simple Google search will unearth them all for you. ShareMyPlaylists does appear to be one of the better ones with a simple user interface and ratings system, and great communications with it's users too.
Now, I have created a small number of playlists which are hosted there and I am very pleased with the responses I have got on them. But having trawled through many lists on there and other playlist sites, it became quite clear that many of them were a major letdown or just totally ill conceived from the get go. With all due respect to those that created them (and I won't be naming & shaming), a little more thought and care could have turned them into excellent and viable lists. So I got to thinking about what constitutes a great playlist.
The first major sin committed by a dodgy playlist creator is to chuck in entire albums of their favourite bands. If I wanted the whole of Blur, I'd just search Blur directly in Spotify and away I go. Worse still are playlists that contain just one album. Bizarre!
Secondly, a list that claims to contain the "best of" a particular artist or genre should be approached with caution. I did one called the Best Of The 80's and knew that I couldn't possibly get everything, but I made sure that I covered as many bases as possible.
Next on the list is the length of the playlist. Make the list worthwhile. Don't make it too short and don't be afraid to make it too long. But always keep it relevant. Know when to stop.
Artwork for your playlist is a must, just like an album sleeve is. Make it relevant and make it punchy. The image must also convey the sentiment of the playlist.
Song placement within the list is a matter of taste really. You could organise it track by track, but bear in mind that Spotify has a shuffle feature so your careful planning might be undone in an instant. When compiling your list, you can sometimes be hit by a wave of inspiration and add in large swathes of tracks, only to find that you want them all in a different order. This can prove to be a bit of an effort, so I often suggest that listeners use shuffle.
And that brings me on to descriptions. Name your list appropriately and give some thought to a short description about it. What inspired you to make the list? Why choose the songs you chose? Who are the songs about? Is there a particular relevance or theme and what is it? Sell your playlist to the listener.
But above all, remember that music is entirely and totally subjective. One man's meat is another man's poison. I've had some comments on mine about the inclusion of certain artists with others, but in the context of the theme, I was happy with my choice. For a brief period I was a bit angry at someone criticising the list, but soon realised that everyone has unique tastes and that was just the way he felt about my list. They can always make a list of their own ;o)
If you really like your playlist and want to share it, make sure you do via place like ShareMyPlaylists.com and see what people think. It can be quite a gratifying experience :o)
Yep, on this day in 2005, I started the Failed Muso blog.
The First Post
I had confused intentions back then. I wasn't sure if this was to be anything specific or just a place to collate my ramblings. It soon took a turn towards my passion for music and music technology, with a soupçon of random shit thrown in!
MUCH has changed since then, mostly for the better :o)
Anyway, Happy Birthday Failed Muso! You have served me well and here's to many more!
By way of a celebration, I created a rather large and eclectic new Spotify playlist today, entitled, "Failed Muso's History Of New York" which attemps (successfully, I hope) to bring together almost a century of music from that fine city. So expect to hear pieces by Al Jolson, George Gershwin, Yeah Yeah Yeahs, French Horn Rebellion, Suicide, Television, Velvet Underground, Blondie, Barbra Streisand, Ethel Merman, Dizzy Gillespie, Ella Fitzgerald, Wu-Tan Clan, Jay-Z, Grandmaster Flash and many more.
It can be found on the most excellent ShareMyPlaylists.com site, along with all my others....
Failed Muso's History Of New York
Failed Muso's Spotify Playlists
I can be pretty crap. I mean REALLY crap. I'm a terrible procrastinator. A shameful waster of time and shockingly poor at prioritisation. I was meant to write a review for this album months ago. I could spend time telling you all the many reasons why it has taken me so long, but I'll spare you the effort and just get on with it. So, apologies for the delay but here we go.
'Spooky Action At A Distance' is the latest offering from JP Video, multi talented artist and musician, from New Jersey. I reviewed his last album, November back in March last year, so he's not been resting on his laurels.
As with that album, this new piece features only a small selection of tracks, but they are each varied enough for you to think there was more going on than the cover describes. 'November' seemed more experimental, more avant-garde but this new album seems more musical, more, dare I say it, mainstream. Don't worry, JP hasn't sold out to the pop demons. This stuff still makes you think. It still requires some effort and intelligence to listen to. The opening track, 'Obeah' is a tribal affair, preceded by some big analog synth sweeps. JP isn't afraid to mix sounds and styles to paint his sonic pictures. He describes the inspiration behind this track as a reconstruction of a Haitian ritual he observed some years ago that involves bestiality and consumption of blood. Female chanting, djembe-esque rhythms, metallic synth droplets... it's all in there, and works surprisingly well. I'm a big fan of fusing seemingly disparate sounds and styles.
What I'm not a massive fan of is covers of Beatles songs. To me, they are sacred vessels, not to be touched or messed with. Few get away with it. Siouxsie's version of Dear Prudence is one that passed muster. Funnily enough, the track that JP covers is from the same album as 'Prudence', the classic 'White Album'. I am told that JP covered it as a tribute of sorts to an ex girlfriend named Martha, not like Paul McCartney, for whom Martha was an old English Sheepdog! (Although I hear the irony isn't lost on JP!) And like Siouxsie, JP pulls this off rather well, in a camp sort of way. It is by no means a bad cover at all.
The next four tracks are typical JP offerings of cinematic backgrounds, laced with sporadic melodies and sampled vocals. 'Homicidal' is particularly like this. 'Minimal Wave' is particularly lovely, starting off with arpeggiated chords that fade into a suspenseful second half, with strings and pads kept chugging along with a super fast, almost monotone arpeggio. 'Music For Teenage Sex', far from being littered with musical innuendo towards the awkward fumblings of adolescent coital exploration, is a sparkling blend of synthetic tones and meanderings and a smattering of sounds created by Voyager as it span past Jupiter, no less.
The final piece is 'Ghost To Ghost', which sees JP re-arranging a piece by Giorgio Moroder from the soundtrack of "Midnight Express". Distinctively Moroder, but with a new feel to it.
Whilst JP retains the obvious inspiration of people like Karlheinz Stockhausen (to whom this album is dedicated) and other early electronic avant-garde pioneers, this offering feels more contemporary, more matured. It feels like JP has indulged himself in some musical fast food, but retained the silver service and best china of his experimental delivery and execution.
You can buy 'Spooky Action At A Distance' from CD Baby and Amazon, where it is also available as a download.
The waiting is over! This morning, my postman delivered 2 packages for me. One was the CD+DVD version of Depeche Mode's 'Sounds Of The Universe', the other was the Limited Deluxe Box Set of the same album :o)
And boy was it worth the wait.
I had already heard the album via legitimate streaming services and found the songs to be incredibly mature, sonically astounding and overall, a definite pinnacle of their recording history.
The box set, which is the most complete edition in terms of track count and other goodies (more on this later), gives us not only the 13 tracks from the standard release, but also 5 extra bonus tracks, all original works, plus a selection of remixes. That's 2 CD's worth, right there. CD 3 is full of demo's, not just from the SOTU sessions, but from way back in the 80's and 90's. Some proper gems in here. Disc 4 is a DVD that contains the 18 new original tracks from SOTU in glorious 5.1 Dolby & DTS as well as two full length documentaries, a shorter film and the promo video for 'Wrong'. Also included are 4 live studio session films where the band perform 4 songs live in the studio in one take.
Also included are two 84 page hardback books with lyrics and pictures by both Anton Corbijn and Ben Hillier/Daniel Miller, 2 enamel badges, two posters, 5 art cards, a panoramic studio picture and a certificate of authenticity.
All of this comes in a very sturdy box with foil decoration.
This is an incredibly well presented item that contains some amazing music. I have to say, the 5.1 mix is one of the best musical 5.1 mixes I have ever heard.
If you can't stretch to the £60 for this box, I heartily recommend the CD+DVD version which gives you the the album plus 5 bonus tracks, 5.1 mix, short film and 'Wrong' promo for approx £13.
The names above need little or no introduction.
Wendy & Lisa are a duo who first came to popular attention as part of Prince's band, The Revolution. Two incredibly gifted musicians who then went on to forge a career in their own name, not always quite escaping the shadow of Prince, but successful to a degree nonetheless. Most recently, they are known for their fantastic scoring of the hit TV show, "Heroes".
Trevor Horn is the uber producer that has probably made more hit records than any other producer in history. Working with acts as diverse as Frankie Goes To Hollywood to Leanne Rimes, Lisa Stansfield to Belle & Sebastian, Marc Almond to ABC, Pet Shop Boys to Seal, Yes to Simple Minds, TaTu to Dollar, and so many more. He's also a performer in his own right and one of the worlds most successful label owners.
So, wassup?
Well, let me give you some background. In the mid 90's Wendy & Lisa hooked up with Trevor to do some work, including the soundtrack to the film, "Toys", and to do some work with Seal. They also recorded some of their own material but this never saw the light of day. Further wranglings ensued, with rumours of Trevor (under the guise of his businesses ZTT/Perfect Songs) holding them down to a 7 year contract. To this day, their work on this album has never surfaced.
Fast forward to today, when an article on Out.com features an interview with Wendy & Lisa. In this article, they made answers to the following questions:
You were dealing with [being lesbian] during the Reagan years when the AIDS crisis was exploding and the progressive attitude regarding gays started reversing. It must’ve been hard to contend with that while the music industry pushed you to be the next Mary Jane Girls.
Wendy and Lisa, nearly in unison: That’s exactly what they wanted.
Wendy: We couldn’t have been more opposite of that. We were just geeky musicians. We still are. We did a record 10, 11 years ago with Trevor Horn that was never released. We were hoping that we would have the next fucking Grace Jones “Slave to the Rhythm” extravaganza. We thought, “This is going to be genius! We’re going to be musician freaks and experiment.” And he, honest to god, wanted us to be the Spice Girls. My heart was broken.
Lisa: Not only that, but he was so homophobic. I hate to say it, but he wouldn’t even let us eat off of his silverware on Friday because he was Jewish. It turned into this nightmare. He and his wife, oh God, I don’t want to talk disparagingly about anybody, but it made us very uncomfortable.
Wendy: Our homosexuality became quite an issue for them.
That’s especially disturbing coming from the guy who produced Frankie Goes to Hollywood and Grace Jones and the Pet Shop Boys.
Wendy: And Marc Almond and ABC and t.A.T.u. You name it.
Lisa: He would come in and start talking, “Well, I asked my rabbi about homosexuality and my rabbi said it’s comparable to being born a mass murderer. You can be born a mass murderer, but if you practice mass murder it’s sinful.” I was like, “Okay, you can be born gay, but if you practice being gay, you might as well be a mass murderer?” Oh, thanks Trev. Let’s record this song now.
Nothing too specific in this post. Just wanted to update a couple of previous posts.
Firstly, there's the matter of the Akai MINIAK post where I went off on one about individuals spreading mis-information on the interwebs about things like the MINIAK, when they clearly lacked a) actual knowledge and use of the product and b) were clearly pumped up full of their own self importance.
Yesterday, my attention was drawn to the weekly podcast coming out of SonicState.com. In Show 124, Nick Batt and Dave Spiers made mention of the MINIAK and the ensuing commentary and referenced my article. To hear Dave Spiers, the man behind many great musical projects (KeyFax, Twiddly Bits, GForce Software) of which I have long ben a fan and admirer of, not only mention this blog, but appear to enjoy the content, was a real buzz. Here's the clip:
Prince
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When it comes to listening to music online for free, we've seen fads come and go, various sites do their best at blending music listening with social networking, online radio stations and various other projects. My first proper experience with online streaming of music for free was with Pandora. Now, if you live outside the US, that link will get you a big apology page as sadly the service is no longer available outside the US. The theory behind Pandora was to analyse listeners tastes and then provide a selection of music based on those tastes. It would study all users trends and this all contributed to what they called The Music Genome Project. All sounds hip and trendy, but it wasn't that great because you had to listen to what they suggested.
Since then, sites like Last.fm and Blip.fm have provided us with free access to music on demand but their web front end's are a bit slow IMHO, the track quality is questionable and their list of available tracks can be a bit limited. Don't get me wrong, I like what they do, but I never got into them because it just seemed a bit too much like hard work.
Recently however, there's a new kid on the block. Spotify. Strange name, but this could just be the future. It's a small downloadable application that uses the concept of peer to peer file sharing to ensure rapid delivery of the tunes, all of which are delivered in what many believe is a superior format to MP3, .OGG Vorbis q5. This streams at around 160kbps and does indeed sound VERY good.
It's fair to say that Spotify looks and behaves in a slightly similar way to iTunes, or should I say, it behaves like other iTunes-esque applications. However, it is extremely simple to use.
The most impressive thing about Spotify is the rapid delivery of the tunes. It's almost instantaneous. The quality is very noticable too. It does sound very good. Other very nice touches are the artist biographies, dynamic album reviews with cross linking and the flexible search feature. Album art is always there too, along with the ability to construct and share playlists. You can even collaborate on playlists with other Spotify users. Built in volume & transport controls include a handy Shuffle feature too. Tracks are also rated by popularity. Recent searches are also saved. And just like online radio, you can get Spotify to select music for you based on taste, style and era. You can queue tracks up or just flit around the library, looking for your own choices or following Spotify's suggestions.
You can even right click on tracks and select to buy them!
The speed and quality of Spotify is down to the way it delivers it's content. It uses a cache on your hard drive to improve bandwidth usage, resulting in that super quick start up time. How much of your HD is used is user configurable too. Spotify can also scrobble your tracks to your Last.fm account if you wish.
All in all, this is a remarkable application, even more so as it is FREE!! :o)
What's the catch, I hear you ask. Well, of course there's a catch, but it's so simple and unobtrusive. Adverts. Yup, the Spotify people have to make money, as do the artists whose songs you are playing. So, the free version of Spotify will feature adverts in the form of Flash banners in the application itself and also in audio form. Both appear infrequently and are totally sublime and inoffensive. The audio adverts are much like the 30 second affairs you hear on commercial radio and only play one at a time. Spotify say that as the service grows, the frequency of adverts may increase slightly, but not in a ridiculous fashion. You can of course buy a 24 hour ticket to get ad free service, or £9.99 per month for Spotify Premium, that gets you ad free and also exclusive access to various content, like forthcoming releases and suchlike.
Spotify, even though being around for 3 years, is still starting up, but it's making a big noise (forgive the pun) and is spreading rapidly. Currently, Spotify Free is only available in Sweden, Norway, Finland, the UK, France and Spain. It's only available in some contries by invite only as well. Spotify Premium is available in most countries now.
What I like about Spotify is that it removes the need for people to download stuff illegally, simply to try it out. Sure, it's not going to stamp out piracy single handedly, but it sure makes it more convenient to listen to music wherever and whenever, legally and free.
Sites are springing up all over the place, allowing Spotify users to share playlists with each other. One of my personal favourites (in fact, it's the only one I currently use) is ShareMyPlaylists.com which is a free and very convenient way of getting your lists out there. Users can rate them and leave comments too.
As you can probably tell, I'm a massive fan of Spotify. As soon as it gets bigger, I can see it making a massive impact on how we listen to music online on a global scale. I'd like to see little additions like it being able to feed to things like Twitter what you are currently listening to with a link to the track too, a bit like Blip.fm does. Or even a Facebook app to show your playlists and currently listened to tracks. There's plenty of scope for Spotify and I can see it happening very soon.
Check it out for yourself. There's nothing to lose!
Spotify.com
Oh, and here's a few of my playlists that I have shared on ShareMyPlaylists.com
Failed Muso's Best of The 80's
Failed Muso's Musical Homage to Ashes to Ashes Season 2
Failed Muso's All The Fun Of The Fairlight
Failed Muso's Electronic Influences
Failed Muso's Queens of British Pop
Failed Muso's Later...with Jools Holland Collection (10/04/09)
"With great power comes great responsibility"
The ION did NOT have a vocoder and I don't think the Micron did either. It was a resonant filter. I called up the engineers at Alesis and they admitted that it was NOT a vocoder plus they also confesses that most fo the claims on the product sheet were wrong.
This mini(h)a(c)k is the freakin ION sound library. WTF - that was the worst synth I ever had BAR none
Follow up - for the record - NOT a vocoder. Looked over some specs and photos - that is a "tricked out" filter. There is NO carrier, you can hear the weakness, thus not a vocoder.
Same weak sauce as the ION. If you have never used a vocoder (I suspect Aleseis is in that category) you can be duped
Alesis specializes in:
Low ethics in their business practices (look at the mixer line and compare to Mackie. Case in point Mackie Onyx and Alesis Xenyx - hacks? - compare the specs and then theink “Why would you call it Xenyx?)
I told my audio friends over a year ago that this will be the demise of Akai.
Yeah, I am rather a prick about this gear. My bio warns you, and here I am again doing the same. I just want to level the data here. So here’s some stuff to lessen the blow.
First, I am wrong sometimes. I read things incorrectly, use it wrong, make a poor call, and so on. I will admit when I am wrong. Sh!t, google caches all this crap, so erasing my idiocy does little good.
Next, if I am wrong - let me know. I will put a considerable amount of time into researching your claim. If you are wrong and I am certain I will let you know. Go ahead and rock that whois information, you will be sitting by a PO Box for a long while trying to fight with me. I live in Colorado and the gun laws are pretty liberal here, so there may not be a fight, only a blood stain.
I have called too many manufacturers out on sh!t and you are a bunch of losers. Alesis - 2x I called you out and you ran with your tail between your legs. Each of those 2 times I fired off a long list of LIES you called “features”. All bullsh!t. 100%. Dean (the old rep) hated me for what I told him when I beta tested the Alesis Andromeda - it was and still is a piece of shit. I was only truthful and not willing to be caught up on the smokescreen.
Ever notice how I have no reviews of current Moog synths? That is because they are so riddled with weaknesses and overwhelming stupidity I don’t even want to waste my time (the little Phatty is the least annoying of the lot and over prices by about $800)
More details have been released on the Akai MINIAK synth, launched today at Musikmesse...
Create YOUR sound
The MINIAK is the first synthesizer from Akai Professional to be developed in partnership with the world-renowned Alesis synthesis team. The MINIAK brings together the control of the Akai Pro MPD, MPK, and APC series with powerful DSP sound-generation technology. The MINIAK is a perfect synth for producers in the studio and live performers on stage because, while it is extremely compact and portable, it’s a serious instrument for creating sounds for both performance and production.
The MINIAK puts up to eight multi-timbral voices at your fingertips, each with three oscillators. You can create interesting and unique sounds and take advantage of the more-than-600 preset sounds and store up to 1,000 programs in the MINIAK. The synth also has two multi-mode filters, three envelope generators, two LFOs, stereo effects, and a 40-band vocoder. On top of all of this sound-melding power, the MINIAK has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer, and an arpeggiator to aid in creating the landscapes and textures you’re after.
Rounding out this complete instrument are high-resolution, 24-bit balanced 1/4" inputs and outputs. The MINIAK has a 37-key semi-weighted keyboard with velocity sensitivity and aftertouch for all-in-one performance. It can also be used as a sound source for MPCs, computer software, and keyboards via MIDI.
UNDER THE HOOD
A MINIAK program is a sound built from the MINIAK’s internal oscillators, filters, and envelope generators. The MINIAK’s more than 600 preset programs span the range of classic analog synthesis sounds. If you’ve heard it before, you will probably find it in the MINIAK’s presets.
In a synth, oscillators generate raw sound. Their output is fed into the filters, whose output is fed into the amplifiers. As the signal moves along that path, you can manipulate the mix at several points and apply modulations, envelopes, and effects to create a custom palette of sounds.
SOUND GENERATION
The oscillators can produce different waveform types and shapes to create various harmonic structures, which our ears perceive as different timbres. Here are some of the waveforms you can create with the MINIAK’s oscillators:
Sine – Smooth, pure sound
Triangle – Fuller than a sine wave
Sawtooth – Harsh sonic character
Pulse – Harmonically rich, ranging from full-sounding square wave to a sharp impulse wave
The MINIAK’s oscillators can produce continuously variable waveforms, so it can can hit any point between these examples.
You can connect external audio sources – other synthesizers, mixers, guitars, and more – using the 1/4” inputs. The jacks accept either balanced or unbalanced cables. You can mix in the external audio sources with the MINIAK’s oscillators. The resulting combination is then sent through the MINIAK’s filters and effects. A special group of programs including vocoder programs exists just for use with the external inputs.
The outputs of the oscillators, the noise generator, the ring modulator, and the external inputs are fed into a virtual mixing board called the pre-filter mix. From here, the signal hits the filters. For each source, you can specify its level and its balance: how much is sent to Filter 1 and how much is sent to Filter 2.
FILTERING
The oscillators produce very raw sounds. To shape and fine-tune the sound, filters give you tools for dampening certain harmonics and boosting others. Filters alter the frequency content of the signal and can have a drastic effect on the sound. Each of the MINIAK’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor.
They are: Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole; Band Pass: ob 2-pole, al 6-pole, octave dual, band limit; High Pass: ob 2-pole, op 4-pole; three Vocal Formants, four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute.
After filtering, the signal is fed to the post-filter mix. For each filter output, as well as a pre-filter signal of your choice, you can specify a level and a pan.
OUTPUT PROCESSING
In the output stage, the MINIAK allows you to apply a drive effect and add some compression, distortion, or other amplification effects. The MINIAK allows you to set up twelve modulation routes. Each of these is a virtual connection between some physical or internally generated source and some program parameter. Basically, a mod route tells the synth to automatically grab a knob and tweak it while a note is playing. Although there are quite a few sources that you can use for your mods, the most common ones involve the LFOs and the envelopes.
LFOs
LFO stands for low-frequency oscillator. LFOs are not designed to produce sound, but instead to tweak a program parameter according to a looping pattern. For example, if you are looking to add vibrato, you need the pitch to continuously waver up and down. Each of the MINIAK’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync. The MINIAK’s LFO can sync to the internal clock or any external source via MIDI.
ENVELOPES
If you hit a note on a piano, you hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizers model this behavior using ADSR Envelopes. ADSR stands for Attack, Decay, Sustain, and Release, and represents the different stages that the sound goes through over the life of the note. The MINIAK also has an envelope that is specifically designed for loudness, called the Amp Envelope. Envelopes are useful in all sorts of mod routes, which is why you can hook up any of the MINIAK’s envelopes to any modulatable program parameter. Each of the MINIAK’s voices contains three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope.
SEQUENCING
The MINIAK has extensive sequencing and arpeggiation performance capabilities. Arpeggios and sequences both respond to a key-press by playing a series of notes over a programmed rhythmic pattern. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the MINIAK will generate a melody by playing each note of your chord individually. A sequence has a melody line built in so you can hold down a single key and the MINIAK will play back that melody relative to that key. Pressing another key will transpose the sequence.
The MINIAK has MPC-style step sequencing and recorder-style dynamic real time phrase sequencing. There’s also a drum machine/rhythm sequencer for the built-in drum sounds.
EFFECTS
The MINIAK has a full compliment of stereo effects including Chorus, Feedback, Theta Flanger (Phaser + Flanger), Thru Zero Flanger, Super Phaser, Notch Frequency, String Phaser, 40-Band Vocoder, Analysis Gain, Sibilance Boost, Band Shift, Synthesis Input, Analysis Signal In, Analysis Mix, six types of Delay, and three types of Reverbs.
With the extensive sound generating and manipulating power of the MINIAK, the sounds you dream up are as easy to create as twisting a few knobs. And creating complete soundscapes with the sequencer and arpeggiator couldn’t be easier. Step up to the only synth with the Akai Professional name… the MINIAK.
Synthesis: virtual analog (subtractive), noise generator, FM
Polyphony: up to 8 voices
Timbrality: up to 8 parts
Oscillators: 3 per voice with continuously variable waveshapes, sync, linear and exponential FM, Ring Mod, routable modulation matrix per voice.
Filters: 2 multi-mode resonating filters per voice with 16 filter types
Modulation: 2 LFOs with multiple wave shapes, sample and hold, tracking generator, freely-routable modulation matrix per voice
Effects: 4 drive effects, 1 per part; master effects
Sequencing: step sequencer, arpeggiator, drum machine/rhythm sequencer, and phrase sequencer
Program memory: up to 1,000 programs and multi-timbral setups
Velocity sensitive: Yes
Keyboard: 37-key, semi-weighted
External control: MIDI in/out/thru
Inputs: 2 balanced 1/4” TRS, mic
Outputs: 2 balanced 1/4” TRS, 1/4” TRS headphone
Controls: pitch wheel, two assignable Q-Link modulation wheels, X, Y, and Z parameter knobs, pattern play, phrase arpeggiator, latch arpeggiator, keyboard octave, tap tempo, program controls, data push-knob, config, store, master volume
Pedal Inputs: Assignable expression pedal, sustain pedal
* Eight voices, each with three oscillators
* Up to eight multi-timbral parts with stereo effects and 40-band vocoder
* Two multi-mode filters, three envelope generators, two LFOs, sample and hold, tracking
* generator
* Dynamic real-time and step sequencers, arpeggiator, and drum machine/rhythm
* sequencer
* Stereo bus effects including reverbs and delays
* 24-bit 1/4" balanced stereo analog outputs and inputs
* 37-key synth-action keyboard with velocity sensitivity
* More than 600 preset sounds
* Sound banks: bass, lead, pad, string, brass, keys, comp, drum, SFX
Includes
* MINIAK synthesizer keyboard
* VPM1 gooseneck microphone
* Power supply
* Quick start guide
Akai Pro MINIAK Page
At long last, Akai have released a new firmware for their MPK49 controller. This absolute gem of a controller was only spoilt by some truly niggly little bigs, the main one being that it didn't retain the Global settings after power down. Thankfully, v1.05 now fixes this and a couple of other minor issues:
Version: 1.05
Date: 3/12/2009
New Features / Changes:
1. Added the ability to save PAD THRESHOLD, MIDI CLOCK, TAP AVG with SAVE GLOBALS
2. Fixed issue where ports would not show correctly on Mac OS 10.5.6
3. Fixed issue where assignable switches could not send program changes above 32.
Three excellent new additions to the Akai product line introduced tomorrow at Frankfurt Musikmesse. The MINIAK looks particularly tasty! :o)
AKAI PROFESSIONAL ANNOUNCES MINIAK SYNTHESIZER
Virtual-Analog Synthesizer with Vocoder Developed in Partnership with Alesis
Cumberland, R.I. (April 1, 2009) – Akai Professional, the name synonymous with music production, announces the MINIAK, the synthesizer specifically designed for today’s music production and performance styles. The MINIAK will make its debut in Akai Professional's stand, B 21 in Hall 5.0 at Musikmesse, April 1 - 4, 2009. Held in Frankfurt am Main, Germany, Musikmesse is the world's largest fair for musical instruments, live music and the music business.
The MINIAK is the first synthesizer from Akai Professional developed in partnership with the world-renowned Alesis synthesis team. The MINIAK brings together Akai Professional’s excellent control feel with powerful DSP sound-generation technology. The MINIAK is a perfect synthesizer for producers in the studio and live performers on stage because, while it is extremely compact and portable, it is also a powerful instrument for creating sounds for performance and production.
The MINIAK enables users to create programs with up to eight multi-timbral voices, each with three oscillators. The user can create interesting and unique sounds and take advantage of the synthesizer’s more-than-600 preset sounds. Users can create complex and refined sounds using the MINIAK’s two multimode filters, three envelope generators, two LFOs, stereo effects and 40-band vocoder with gooseneck microphone. The MINIAK also has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer and an arpeggiator.
Users will appreciate the MINIAK’s high-resolution, 24-bit balanced quarter-inch inputs and outputs for excellent sound quality. The MINIAK has a 37-key semi-weighted keyboard with velocity sensitivity for all-in-one performance. It can also be used as a sound source for MPCs, computer software and keyboards via MIDI.
“We have been watching a trend in music production towards using more synth sounds alongside samples,” said Adam Cohen, Director of Business Development, Akai Professional. “The MINIAK is the perfect way for anyone to get into synthesis, yet it is powerful enough for any professional to create the precise sonority they are after.”
The MINIAK will be available from musical instrument and professional audio retailers Q3, 2009.
AKAI PRO FURTHER EXPANDS MPK LINE WITH 88-KEY MODEL
MPK88 Performance Controller Features Exclusive MPC Technologies
Cumberland, R.I. (April 1, 2009) – Akai Professional, the name synonymous with music production, announces the MPK88, a new addition to its popular MPK series of keyboard controllers with MPC pads and technology. The MPK88 will make its debut in Akai Professional’s stand, B 21 in Hall 5.0 at Musikmesse, April 1 - 4, 2009. Held in Frankfurt am Main, Germany, Musikmesse is the world's largest fair for musical instruments, live music and the music business.
The new MPK88 draws on the design of its siblings in the MPK series. The MPK49 and MPK25 each combine a MIDI-over-USB keyboard controller with genuine MPC pads and a sampling of the technologies that have made Akai Professional’s MPC series such an iconic music-production tool. The MPK88 brings the utility and creative control of its siblings to more dedicated piano and keyboard players, thanks to its fully-weighted, hammer-action keyboard with assignable keyboard split and aftertouch. Akai Professional designed this performance keyboard controller to specifically deliver the feel that serious keyboardists demand in a high-quality instrument.
In addition to the premium keybed, the MPK88 gives the player 16 MPC pads that are velocity and pressure sensitive and can access four banks of sounds each, for access to 64 sounds at any time. The MPC pads are the most recognizable feature of the MPC series, which has been among the most influential devices in the creation and production of music for the last two decades. The MPK88 also puts the player in command of their software with assignable Q-Link faders, knobs and buttons. The user can assign any Q-Link to control nearly any parameter in their software for hands-on, mouse-free performance. The MPK88 also has two assignable footswitch inputs and an expression pedal input.
Two technologies pioneered in the MPC series and built into the MPK88 are MPC Note Repeat and MPC Swing. These note-modifying features can be heard in many of the most popular tracks over the last two decades. MPC Note Repeat is a capability that enables the MPK to automatically play a rhythm pattern, such as 16th notes on a hi-hat, for accuracy and speed of entry. MPC Swing is sometimes referred to as "the heart and soul of hip hop," because it turns perfectly aligned sequences into human feeling time alignments. Users can specify exactly the degree and timing of swing they want to apply for the perfect feel. The MPK88 also has an arpeggiator, which enables performers to build creative riffs instantly.
The MPK88 sends MIDI values over USB and a traditional MIDI jack. The controller works with most MIDI recording, sequencing and performance software as well as sound modules, synthesizers and other MIDI-compliant hardware, for musical performers from keyboard players to producers to DJs and VJs.
The MPK25 and MPK88 come with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs in the world. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise and edit musical ideas in a seamless audio/MIDI environment.
“Professional keyboard performers now have the control they need on stage and in the studio,” said Adam Cohen, Director of Business Development, Akai Professional. “The MPK88 has weighted keyboard action plus the performance flexibility and control of the MPC pads and technology.”
The MPK88 joins the semi-weighted MPK49 and MPK25 controllers, which have 49 and 25 keys, respectively.
The MPK88 will be available from pro audio and musical instrument retailers in Q3, 2009.
AKAI PRO MPD18 BRINGS MPC PAD CONTROL TO ANY SETUP
MIDI-Over-USB Pad Controller is Small and Portable for Versatility
Cumberland, R.I. (April 1, 2009) – Akai Professional, the name synonymous with music production, announces the MPD18 portable pad controller. The MPD18 will make its debut in Akai Professional's stand, B 21 in Hall 5.0 at Musikmesse, April 1 - 4, 2009. Held in Frankfurt am Main, Germany, Musikmesse is the world's largest fair for musical instruments, live music and the music business.
The MPD18 is the smallest-sized model in Akai Professional’s line of MPD pad controllers. DJs, programmers, producers and other musicians will find this MIDI-over-USB controller to be perfect for triggering samples, controlling software, and a variety of other applications. Its small footprint makes the MPD18 easy to integrate into any setup for stage performance, studio production or musical creation on the go.
The heart of the MPD18 is its bank of 16 velocity and pressure-sensitive genuine MPC pads, an Akai Professional exclusive. Users can access three different banks of sounds from the pads for a total of 48 sounds at once. The MPD18 also borrows the MPC series' assignable Q-Link controllers, enabling users to control nearly any parameters in their software in real time on an assignable Q-Link fader and an assignable Q-Link button.
Users will find the MPD18 to be convenient, sending MIDI information over its plug-and-play USB interface for use with Mac or PC without installing any drivers. The USB connection also powers the MPD18 so musicians can use the controller with no power supply. The MPD18 can control nearly any MIDI software, as well as MIDI hardware, such as synths, sound modules, samplers, sequencers, drum machines and more.
“The MPD18 gives you the iconic control feel of the MPC in a compact footprint that's easy to fit in any setup,” said Adam Cohen, Director of Business Development, Akai Professional.
The MPD18 will be available from musical instrument and professional audio retailers Q3, 2009.
I don't think there's a single musical artist that commands such respect, such criticism, such hatred, such love, such worship and such controversy as Prince. It's not as simple as loving or hating him. It's not black or white (or purple), it's not one or the other and it's not yes or no. Every segment of the spectrum of appreciation has someone sitting in it when it comes to him. There is no doubt the guy is a musical genius, whether you like or loathe him. His talent is undeniable, even if he doesn't get your butt shaking. His ability to stir up debate is almost unequalled, especially in the musical arena. There is no doubt that there is no finer live musical performer than he. No, not even Michael Jackson comes close. MJ churns out the same old shit, and his upcoming copycat routine of Prince's famous "21 Nights" is merely a pathetic attempt to a) avoid complete and total financial ruin and b) to try to get one up on someone who is far more valid than he will ever be. But the Michael Jackson debate is for another day.
I am a MASSIVE Prince fan. I'm not even going to try and convince you otherwise. I have pretty much everything he has ever released, and much more besides. I have seen him many times live, even had the privilege of seeing him soundcheck and even being within inches of him and exchanging pleasantries. I'm not obsessive, but I admire no-one more in music than he. But fuck me, the guy can test my affections!!
We all know the stories of his acrimonious split with Warners; the SLAVE "act", the changing of his name to an unpronounceable graphic, the cobbled together albums created merely to fulfil his contract and the weird interviews he used to give. I can handle that kind of eccentricity, especially when he continues to produce incredible bodies of work. Once out of his contract, he proceeded to become an Internet pioneer, founding revolutionary websites and formulating new ways to market and promote his work. From the ashes of one website, he created the NPG Music Club. The NPGMC was inspired. The fan (or "fam" as Prince likes to call them) pays an annual subscription, and in return, gets exclusive access to Prince's material. All the new music was downloadable at no extra cost, video material was watchable and downloadable, members got pre-sale concert tickets and exclusive seating, plus entry to soundchecks. The whole thing was brilliant. And it worked. Prince made more money bypassing the established processes and the fans got the material they wanted as soon as Prince wanted them to have it.
And then, suddenly, without warning, NPGMC vanished. A simple explanation was given that Prince was moving to the next phase and NPGMC would be replaced. It was, eventually. 3121.com was far from the all encompassing site that NPGMC was. It was merely a "news" site. An occasional track was featured, but not much else.
And then, almost as suddenly as NPGMC vanished, so did 3121. Similar reasons were offered, especially as it's disappearance happened after his record breaking 21 night stint at London's O2 Arena. It was stated that Prince was off to concentrate on Bible reading and doing the work of the Jehovah's Witnesses. Fair dues, but leaving nothing for his fans to congregate around.
Then we had the whole YouTube affair, where Prince instructed his lawyers to demand removal of any video on YouTube (and many other places) that featured even the merest hint of a Prince song, even if it was inadvertently playing on a radio in the background. This generated a level of resentment in the online world, normally reserved for kiddy fiddlers and mass murderers. He even set his legal attack dogs on long established independent fan sites, thus upsetting and alienating a massive segment of his fanbase.
And then, at the back end of 2008, he emerged, talking about new work, new projects and even, for a brief moment creating a new site with teasers, only for that to do the now customary vanishing act within days. Then last week, there was the full on launch of the new Prince online presence, lotusflow3r.com. This new venture seems to echo, very strongly, the NPGMC model. A $77 joining fee, getting you exclusive content and ticket pre-sales, plus the new Prince release, LotusFlow3r (a 3CD set) in download form before anyone else. This time, however, the physical CD release is not being put out via an established distributor. Oh no, forget that. Prince has done a deal himself with U.S. retail giant, Target, who have exclusive rights to sell the 3CD pack for $11.98 (which is a bargain in any one's books!). So, die hard fans can join the club and get extra goodies and everyone else can pop into their local Target and grab a fantastic CD for an excellent price. Target get major footfall increase, Prince reaps the rewards and the fans are happy.
Or so you'd think. Oh no, MANY fans are far from happy.
Take us, the UK & European fans. Or even the Antipodean fans. Or those in Asia or Africa, or South America. Do we get an exclusive distributor? Oh no. All we get is places like HMV, Amazon and Play.com sporadically advertising pre-orders of the album for anything up to £42.99! Remember, the U.S. version retails at $11.98. I know we're in a recession, but that's some fucking mark up, right there!
And so the Internet boards are full of angry non U.S. fans stating that they're going to just download the set from a P2P site and fuck Prince.
To be fair, Prince can't control greedy retailers, but it certainly looks like Prince (and/or his business advisers) failed to understand the global nature of the demand and put in proper distribution channels outside of the U.S. Prince always seems to piss someone off. The Americans got cheesed off when he decided to do 21 Nights here in London. The Europeans got pissed off when he decided to do the Musicology tour in the U.S. alone.
Prince is lacking something. Something he had plenty of in the past.
The guidance of experienced marketeers. The kind of thing he had when he was at Warners. Don't get me wrong. I think Prince had quite a few valid points when he spat his Warners dummy out. But being an Internet pioneer and cutting edge brand is not an easy thing to handle, especially when your skills lie in the music making. I mean, who thought, given that we are facing a global financial crisis, and that the very nature of music retail is shifting daily, that charging a large sum of money to join a website simply to get your hands on music you can buy from a supermarket for 6 times less was a good idea? The new website doesn't even have a small area for non paid up members, so even if you're just getting into Prince, you can't get access to official news and updates from the man himself. Not unless you fork out $77 (£54 at current exchange rates).
I admire Prince. I admire his balls to go it alone and blaze a trail. I think the guy is a musical genius, an incredible and immutable force, a kind, warm generous and funny man. But he is pissing more and more people off. Prince probably never needs to sell another record again. So why make it so difficult for people to really appreciate his talent? He's a control freak, which can be a good thing, but in this case leaves him exposed and ridiculed.
Suffice to say, I will be acquiring the new CD. I will be joining the new site and I will be singing the guy's praises for many years to come. My actions will neither encourage or discourage Prince's business decisions in the future. He will do whatever the hell he likes, because he is in that wonderfully unique position of being able to.
Being a Brit, I can fully understand eccentricity. In fact, I positively warm to it and encourage it. But there's a fine line between being eccentric and being a twat.
Prince is on that line and he's got a bit of a wobble going on.
Awesome track, recorded live in the studio. This will be available on the "Sounds Of The Universe" Box Set, out April 20th (April 21st in the U.S.)
Set phasers to stunned. Set Volume to Max. Set Hairs to stood up.
Sniper Twins.. film makers, rappers, musicians, geniuses....
http://www.snipertwins.com/
And Sunflares (whose music features in the above Obama Inauguration vid)...
http://www.myspace.com/sunflares
So said John Jay Chapman, American author and native New Yorker. And he couldn't really be more spot on, especially considering the musical talent emerging from there just recently.
As you may have noticed by looking over to the right of this page, I have been indulging myself, nay, totally immersing myself in the joys of Twitter, the latest social networking/micro-blogging fad to grab us net geeks. Long story short, one of the people I follow on there is a gentleman by the name of Graham Linehan, writer, producer and director of some of the finest televisual comedy moments of recent years, such as the Emmy award winning "The IT Crowd" and the legendary Father Ted. He posted a tweet about a Brooklyn based band called French Horn Rebellion, with links to the two videos you can see in this post I made not long ago. So utterly blown away by these two songs was I that I immediately ordered the album, which arrived last week, as detailed here. Suffice to say, I wasn't disappointed and the album has been on non-stop ever since.
After making a comment about it on Twitter, another Twitterer turned me on to some more great Brooklyn/New York bands, and it certainly seems that the creative musical epicentre has focused on the state so good, they named it twice. Let me introduce you to what I have discovered.
First up, MGMT. Having released one album (2005's "Climbing To New Lows") under the moniker "The Management" (conjuring up disturbing images of Hale & Pace), they abbreviated their name and released "Oracular Spectacular" in 2007, which spawned such memorable tracks as "Kids", "Electric Feel" & "Time To Pretend". A new album is due this year, entitled "Congratulations". More psychedelic electronic than pop, MGMT are the Beatles to French Horn Rebellion's Stones.
Sadly, because MGMT are now signed to Columbia (part of Sony) they have disabled YouTube embedding, so here are the links...
Electric Feel
Time To Pretend
Next we have Chairlift. You may not have heard of Chairlift at all, but you will DEFINITELY know at least one of their songs, "Bruises", as it was used in the 4th Gen. iPod Nano advert recently. Like MGMT, they released an album themselves before signing a deal which spawned "Does You Inspire You" at the back end of 2008. More melodic and earthy, they combine subtle electronica with sweet vocals and gorgeous hooks.
And so to Menya. Not one to play your Granny, Menya are a trio (2 girls, one boy) who come up with unstoppable electro hip hop pop, littered with expletives but not gratuitously. In fact, it's incredibly endearing and funny! They have released two mini albums (not sure if they're technically EP's) called "The Ol' Reach Around" and "Puss Coital". Instantly likeable and amusing, Menya may not make it mainstream due to their "close to the bone" lyrics, but they will never be short of an avid following.
Finally, we come to Theophilus London. Try saying that whilst chewing a Fruit Pastille! Theo is a rapper/producer more in the vein of Kanye than Jay-Z, with the ability to rap insightfully over lush backing tracks of some ingenious sampling and some exquisite pad work. His album, "This Charming Mixdown" is a free download via his MySpace page and would still be an absolute must have, even if you had to pay £20 for it!
I absolutely love discovering new music, especially when I least expect to. It's the beauty of the internet that one person can big up an artist or band and the message can snowball so that millions can experience what is really happening outside of their own little bubbles. That near elusive spotlight that falls on a locale, illuminating the local talent for all to see and enjoy is a mysterious entity. No one quite knows who's steering it, or where it will shine next. It was on Liverpool in the early 60's, London in the late 60's, San Francisco and California too. In the 90's, Manchester bathed in its glow, as did Seattle. More recently it has picked out Iceland. But right now, it is pointed directly of New York, New York and my oh my, it is reflecting back some awesome talent.
Indulge and enjoy, my friends :o)
Got my French Horn Rebellion CD today, all the way, with love, from Brooklyn. Don't believe me? Check the packaging, hand drawn by the guys themselves!
(Click on image to see full size)
The really cool thing about having a mildly popular music blog is that people send you really cool stuff :o)
Expect a review of sorts soon.
Also, expect a review of the new JP Video album soon, "Spooky Action At A Distance" very soon too. JP ALWAYS sends me cool stuff with his CD's like signed pictures & press releases permeated with fine Virginia smoke ;o) When he sent me "November", his last CD, he enclosed an original 7" vinyl copy of his 1979 debut single!!
Just had another one of those moments when you discover a new piece of music and it just ticks all the right boxes instantly. Brought to my attention by Graham Linehan (writer of such classic TV shows as Father Ted & The IT Crowd), via Twitter, we have both promised to spread the gospel according to French Horn Rebellion.
Their album has been duly ordered and I now present you two video's of theirs, which perfectly complement their music.
Seriously, got out and get this NOW !!!!!!
http://www.myspace.com/frenchhornrebellion
http://www.frenchhornrebellion.com/
Buy the album for $11 + $4.50 P+P.
Do it.
DO IT NOW !!!!
Mellodrama, a documentary by Dianna Dilworth, explores the rising and falling fortunes of the Mellotron – the first musical keyboard to “sample” the sounds of other instruments – from its birth in a California garage in the 1950s, through its dominance on concert stages in the 1970s, through its almost religious cult of followers in the 2000s. From the Beatles’ “Strawberry Fields” to Black Sabbath to Kanye West, Mellodrama is a 50-year odyssey of musical invention, revolution, betrayal, and rediscovery. Soon, through the music of the Beatles, the Zombies, and the Moody Blues, the Mellotron became the "instant magic sound." In the 1970s, the Mellotron defined the sound of progressive rock bands like King Crimson, Roxy Music, and Genesis. Though forgotten during the 1980s, when digital synthesizers hijacked pop music, the Mellotron is today again a highly desired and sought-after device, a connection for artists like Radiohead and Kanye West to the mystical lost world of invention and possibility. Mellodrama chronicles the fascinating fifty-year history using original interviews with Brian Wilson [Beach Boys], Mike Pinder [Moody Blues], Rod Argent [The Zombies], Rick Nielsen [Cheap Trick], Ian McDonald [King Crimson], Brian Kehew [Author "Recording the Beatles"], Jon Brion [Producer--Kanye West, Fiona Apple, Aimee Mann], Patrick Moraz [Yes], Jesse Carmichael [Maroon 5], Matthew Sweet [Recording Artist], Michael Penn [Recording Artist], among many others.
Akai have launched the MPK88 controller at Winter NAMM 09 ! The MPK49 & MPK25 get a big brother :o)
Not much info as yet, but judging from the pictures, it's a fully weighted 88 note keybed, with all the features of the MPK49 plus the full quota of 16 MPC pads, as opposed to the 12 on the 49 & 25.
There is the usual slew of stuff on the net about new arrivals at Winter NAMM 2009. Best place to see these is over at Matrixsynth, so I will just pick out a few.
Here are three new things from Akai.
The first one made me go "WOAH"....
APC40 - Ableton Live Controller
Ableton Live performance, perfected.
The APC40 is the world’s finest Ableton Live control surface. Ableton and Akai Professional worked in a joint partnership to make the APC40 the perfect Ableton Live control surface. Whether you are an electronic-music performance artist and Live is your canvass, a DJ using Live to mix tracks, or a traditional musician using Live on stage or in the studio, the APC40 is designed for intuitive, powerful control.
DIRECT DESIGN
Because Akai Professional and Ableton designed the APC40 for Live, you don’t need to map its controls to talk to the software. Just connect your laptop to the APC40 with its USB cable and you're ready to make magic. The APC40 is class compliant, so you don't even need to install drivers. And if you’re an advanced Live user, the APC40 gives you the ability to remap every one of its controls to suit your own style.
VIRTUAL VIEW
The APC40 talks directly to Live and Live talks directly to the APC40. This exclusive bidirectional communication makes the APC40 an advanced controller in that it can receive feedback from the software and display it on its clip matrix of 40 triggers and on LED rings surrounding each knob. The clip matrix gives you an instant view of clip status: what's loaded, what's playing, and what's being recorded. Each state displays on the matrix in a different color so you can get a quick picture of clip state. You can shift your clip focus and get an overview of the clips you have loaded for your set. The APC40 has 16 knobs, each surrounded by a ring of LEDs. These LED rings make seeing your settings a breeze on dark stages, indicating the currently selected parameters’ values. This advanced visual feedback makes performing with the APC40 focused more on the music and less on squinting at the computer screen. In fact, you might even forget that the computer is there!
PREMIUM CONTROLS
Ableton selected Akai Professional as a partner because of its leadership position in great-feeling controllers that are rock solid, rugged, and precise. From the legendary MPC series that changed the way music is made to the industry-standard MPD and MPK controllers, Akai Professional is revered by musicians, DJs, and producers everywhere for creating the feel that powers their creativity. The APC40 is built with a rugged, metal chassis and slip-proof rubber detailing. Knobs and faders are solid and precise for pinpoint performance. It even features a high quality, replaceable crossfader.
CREATIVE CONTROL
The APC40 comes with a special edition of Ableton Live Lite so you can use it out of the box even if you’re new to Live. There's also a free patch that upgrades full versions of Live so if you're already a Live user, you can take full advantage of the APC40.
The APC40 has two banks of eight knobs. The first set controls Global parameters so you’ll always have instant access to your main sends, pans, and other essentials. The second bank of eight knobs is dynamically reassigned to the Track you select. You can control eight track parameters at a time, and as you switch channels, the Track knobs follow your focus. You also get special clip-status views and feedback that only the APC40's matrix can display. The matrix is not limited to only 40 clips: you can scroll and shift, enabling access to an unlimited number of cells.
The APC40 has a wide range of controllers. The eight Global knobs can access four banks of controls; the eight Track knobs control nine different track parameters each. This gives you a massive total of 72 controllers that are dynamically reassigned. Channel faders, bus faders, and a crossfader give you smooth control of key values. You have even more control power with special controls including Tap Tempo, Tempo Nudge, record enables, solo/cues and two assignable footswitch inputs.
Designed in partnership with Ableton, the APC40 is the most advanced Live controller for the most advanced performers.
And the second one I knew about but had to keep schtuum ;o)
Akai MPC5000 OS 2.0
Meet the new OS. Not the same as the old OS.
The MPC5000 is the most talked-about MPC in the music industry today. It’s the latest evolution of the unquestioned standard in sample-based music production. The MPC5000 builds on the MPC foundation, combining powerful sequencing, sampling and processing with the feel of the exclusive MPC pads and Q-Link assignable controls. It adds never-before-seen MPC advancements such as a virtual-analog synthesizer, a streaming hard disc recorder, incomparably high-resolution sequencing, and over 100 other new capabilities.
MPC5000 OS 2.0 is a free, new operating system upgrade that includes more than 25 additional improvements, many of which are developed to accommodate the specific requests of the people who use the MPC5000 every day. MPC5000 OS 2.0 will be available Spring 2009 as a download at akaipro.com/MPC5000.
Home on the range.
The most requested, exciting, and powerful new feature we’ve added to OS 2.0 is the ability to create and load Keygroup Programs. And with it, in MPC fashion, comes a massive array of cool Keygroup helper tools.
Now with the MPC5000, just like with our legendary S-series samplers and legacy MPCs, you can create chromatic key-mapped sample programs that take a sample and spread it across a range of notes of your choosing, automatically adjusting the pitch of the sample chromatically. You can then play these notes with the pads or an external MIDI keyboard or controller.
What does this really mean for you and your production? For starters, no more time-consuming program creation or relying on an external keyboard for your sounds. SHIFT+PAD will select a Keygroup, you can set range via MIDI if on range parameter, plus you can select a Keygroup via MIDI to select the next Keygroup with the note played. Another new feature is the ability to assign the root note of a sample assigned to each individual layer on a single pad. You can also pan each layer individually in Keygroup and drum programs. Imagine the sonic possibilities!
More good news for all old school producers - you can now import S1000, S3000, S5000/S6000, Z4/Z8, and MPC4000 format sample libraries, including Keygroups, from Akai Pro and third parties. Now you can migrate fully to the MPC5000 platform.
Hustle and flow.
Music production is all about creativity, workflow, the tools at your disposal and making it all come together as seamlessly as possible. So designing a music production device is rooted in finding the best possible collaboration of its elements. OS 2.0 makes production with the MPC5000 friendlier with such time-saving improvements as the new MultiEdit function which enables you to edit and apply parameters such as tuning, filters, pitch, pan—every parameter of the filter screen—to a group of pads, all at once. This streamlines the production process by empowering you to perform group editing.
Get around.
We just upped GRID EDIT’s abilities. You can now see and edit controller automation and event data in the new Controller Grid Edit Window. We also gave the sample editor some love as well. We’ve added a ZOOM function to each individual slice in Chopshop mode for even finer editing of your samples and beats. This takes the guesswork out of cutting a beat and ensures you get what you want every time.
We’ve added a slew of navigation shortcuts you’ll appreciate. For instance, you can now assign the sample you are working on in TRIM mode to a pad by holding SHIFT and striking the pad of choice.
We’ve improved the Effects, Synth and Mixer pages by adding a new Take Over Mode to the knobs and sliders. This is a great help when going between many different pages where you are using the Q-Links to change parameter values. Parameter values will not jump to the position of the knob or fader until the original values zero crossing is passed. This allows for seamless mix and edit moves in realtime.
It pays to play. Improving upon the all ready impressive mixing capabilities of the MPC5000, you can now toggle between the hard disk Audio Track Mixer and the Sequencer Track Mixer with one button without having to interrupt playback of the song. This speeds up track creation in a big way. You can now quantize Track and Pad Mutes in real time to the internal clock or that of an external device. This means that if you use an MPC5000 to trigger clips and tracks live, your mute punches will be perfectly in time.
Marrying performance and production, the MPC5000 now supports full automation of the mixer and effects.
If you have an MPC5000, you know it comes loaded right out of the box. Now that even more capability is coming to should check out the new OS for your MPC5000. Or upgrade to the flagship MPC and get all of these new features along with it.
MPC5000 OS 2.0 will be a free download in Spring 2009 from the Documents and Downloads tab on the MPC5000 page
EWI USB is an electronic wind instrument for musicians looking for an easy-to-play, easy-to-use controller. Akai Professional’s decades of experience in wind and electronic music instruments are rolled into our most user friendly — and most affordable — EWI ever.
PREMIUM PEDIGREE
Akai Professional is the first name in electronic wind instruments. For over 20 years, Akai Professional has studied the art of playing saxophone, clarinet, oboe, bassoon, and other traditional winds, and developed electronic wind instruments that enable wind players to enjoy the same expressive control as in an acoustic instrument. We designed EWI USB to give wind players the expressive musical capabilities previously found only in much more expensive instruments.
PROFESSIONAL PERFORMANCE
EWIs are the only choice for serious wind players looking to make music electronically. While EWI USB is easy and fun to use, it’s also powerful, flexible, and most importantly reliable enough for use on stage and in the studio by professional musicians.
COMPUTER CONTROL
EWI USB is the most flexible EWI because it harnesses your computer to generate its sounds. Its USB interface means that all you need is nearly any Mac or PC and the included EWI USB software, and you’re ready to practice, perform, create, and record with a full collection of wind instrument sounds. Aria Player software was produced specifically for use with EWI USB, providing wind players with an unprecedented level of expressive control.
LARGE SOUND PALETTE
You get over 75 different orchestral, concert band, jazz band, and synthesizer sound sets expertly recorded and programmed by Garritan, renowned for its ultra-realistic instrument sound libraries.
MULTI MODE
EWI USB offers multiple fingering modes including sax, traditional EWI, flute, oboe, and EVI (brass), so whether you’re just starting out as a woodwind student or an old pro wind player, you’ll find EWI USB easy to play. EWI USB is designed for you to spend your time playing music; not learning technology.
SURPRISING AFFORDABILITY
Historically, electronic wind instruments have fallen into two different categories: high-end, professional instruments and toys. EWI USB breaks the price barrier, bringing professional quality, expressive control, and a studio-ready sound library to a price the professional-wind-instrument world has never seen.
Discover the world of expression that only wind instruments can offer with EWI USB.
Authentic, classic drum machine sounds for your MPC.
Old school drum machines have a certain sonic style that producers worldwide turn to for unmistakable cool. Dropping ‘80s kick and snare sounds into a track will bring a smile to your face and feet to the dance floor. Building a library of these sought-after sounds has always meant committing lots of time and money. But now, Akai Professional has done the work for you with the new Vintage Beat Machines Sample Pack for MPC.
Your days of searching for 8-bit treasures will soon be over. This new sample pack will work with all MPC models and contain a huge collection of analog and digital samples from the early days of drum machines — and the founding days of many of today’s hottest musical styles.
The Vintage Beat Machines Sample Pack for MPC is coming in Spring 2009. Only for the MPC series.
Three new products from the Akai/Alesis stable. I am reliably informed that other exciting news from the Jack O'Donnell triumvirate is imminent, including some worthwhile firmware updates :o)
But, for now, feast your eyes on these three...
Akai MPK25
The MPK25 draws on the design of the popular MPK49, the first keyboard ever to feature genuine MPC pads. It features a 25-key, semi-weighted keyboard with aftertouch, 12 MPC pads, Q-Link controls and MPC technology. Its smaller, more portable size makes the MPK25 the perfect travel companion. Its small footprint can fit in a musician’s lap on the couch or on a plane, enabling them to create tracks whenever inspiration strikes.
The MPK series features Akai Professional-exclusive MPC pads that are pressure and velocity-sensitive to capture every nuance of the user’s creativity. The pads can access four banks of sounds, so performers can have 48 samples at their fingertips with the touch of a button.
The MPK25 offers extensive assignable controls through its Q-Link section. The MPK25 gives players 32 parameters of hands-on control through 12 virtual knobs and four virtual buttons, each of which can access two different banks of assignment via a bank-change control.
Two technologies pioneered in the MPC series and built into the MPK series are MPC Note Repeat and MPC Swing. These note-modifying features can be heard in many of the most popular tracks over the last two decades. MPC Note Repeat automatically plays a rhythmic pattern, such as 16th notes on a hi-hat, for accuracy and speed of entry. MPC Swing is sometimes referred to as "the heart and soul of hip hop". Users can specify exactly the degree and timing of swing they want to apply for the perfect feel.
The MPK25 has an arpeggiator, which enables performers to develop creative riffs in seconds. The arpeggiator features six different modes and can have its own swing settings independent of the MPC Note Repeat settings.
Because MPK series controllers are USB class compliant, they do not require custom drivers to work with Mac or PC computers and will work with all MIDI recording, sequencing and performance software. The MPK series is perfect for musicians, producers, DJs and VJs.
The MPK25 comes with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs in the world. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise and edit musical ideas in a seamless audio/MIDI environment.
“This new addition to the MPK line takes the expressive, creative capabilities of the MPK49 to new places,” said Gregg Stein, Director of Marketing, Akai Professional. “The MPK25 can go away for the weekend with you and it is easy to integrate into on-stage setups for multi-instrumentalists and drummers.”
The MPK25 keyboard controller with MPC pads will be available from pro audio and musical instrument retailers in Q2 at an MSRP of $399.99 and an estimated street price of $299.99.
Alesis iMultimix16 USB
iMultiMix 16 USB is the second entry in a new class of iPod mixers that started with the popular iMultiMix 8 USB. iMultiMix 16 USB features a Universal Dock for iPod that enables recording directly to any iPod Classic, 5th generation (video) and 2nd or 3rd generation iPod nano. The mobile recording mixer has iPod transport controls and a control wheel built into the surface for complete control of the iPod while it is docked in the mixer. For clean live recordings of nearly any performance, including home studios, musicians, podcasters and houses of worship, iMultiMix 16 USB is the ideal solution. The USB connection delivers convenient transfer of tracks into iTunes upon connection to a computer. Files recorded into the iPod are CD quality, 16-bit, 44.1kHz WAV files.
Mac and PC recording engineers can connect iMultiMix 16 USB using USB for direct-to-computer recording. In addition to its computer connectivity, iMultiMix 16 USB offers eight analog inputs, 100 digital, 28-bit effects, phantom power and two switchable mic/line/guitar inputs.
Steinberg Cubase LE 4 and Ableton Live Lite 7 recording and performance software are included, completing the total-studio package.
“iMultiMix 16 USB is supremely versatile,” said Jim Norman, Product Manager, Alesis. “You can record any source in a studio, stage or rehearsal-room environment, add the onboard effects and then route your mix out to a PA, computer, hardware recorder, iPod or combinations thereof.”
iMultiMix 16 USB is available from pro audio and musical instrument retailers. It has an MSRP of $799.99 and a street price of $599.99.
Alesis ProTrack Mobile Recording Kit
The Alesis ProTrack Mobile Recording Kit combines the innovative ProTrack handheld recorder for iPod with Alesis’ new AM2 Stereo Microphone Set. The kit enables musicians and recording engineers to record high-quality stereo sound directly to their iPod from a wide variety of sources.
The ProTrack provides direct-to-iPod, stereo, digital recording in a portable, handheld form. Consumers can capture live audio anywhere and anytime with their iPod. The ProTrack’s design integrates the iPod into the recorder and clear, protective covers securely mount the user’s iPod to the recorder.
Users can record detailed, stereo audio using the ProTrack’s onboard dual condenser microphones, which are fixed in XY-stereo configuration for reliable stereo imaging. While the onboard microphones are capable of capturing quality sound, the ProTrack Mobile Recording Kit includes the AM2 Stereo Microphone Set, a matched-stereo, cardioid condenser microphone kit with two AM2 microphones, windscreens, clips, a padded hard case and an XY-stereo mount.
Using the ProTrack with the AM2 microphones enables the user to place a microphone with near-limitless flexibility in both stereo-miking techniques and applications. For example, drummers can use the AM2s to capture their drumset, guitarists can capture a stereo image of their acoustic guitar or amplifier and bands can record their sets live, in stereo. The ProTrack supplies the necessary 48V phantom power to power the AM2 condenser microphones.
AM2 microphones are low profile, miniature cardioid condensers with switchable -10dB attenuation and high-pass filter. With a clean fet amplifier and a transformerless output stage, AM2 microphones offer low-self-noise, high-resolution audio capture. Their small diaphragm condenser capsules offer excellent pickup of the "air" that characterizes high-quality small diaphragm condensers.
AM2 microphones can be used very close to a sound source without the sound becoming harsh. The switchable high-pass filter reduces interferences through subsonic and low frequencies and compensates for proximity effect. The attenuation switch enables the microphone to handle high sound pressure levels without distortion.
“The ProTrack Mobile Recording Kit makes the ProTrack even more flexible,” said Jim Norman, Product Manager, Alesis. “You can place these tiny, quality mics nearly anywhere and grab excellent audio.”
The ProTrack Mobile Recording Kit is available now from pro audio and musical instrument retailers at an MSRP of $399.99 and an estimated street price of $299.99.
Well, as 2008 draws to a close, and a close that can't come quick enough for a lot of people, I thought I'd extend my best wishes to you all for the coming year. Whilst I haven't been THAT prolific, 2008 is second only to 2006 in terms of post count ;o)
In 21 days time, we will see a new President in the White House. If Barack Obama's inauguration isn't enough to inspire you to make 2009 the year of change for good, then I don't know what will.
2008 has opened my eyes to many new artists, and to many new instruments and pieces of gear. Watch out for Little Boots and Rubicks, my two top tips for 2009.
So, whilst I feast my eyes and ears on two of my best Xmas pressies (the Zang Tumb Tuum box set and Prince's 21 Nights book and Indigo Nights live CD), I wish you all great peace and love for the coming year.
Happy Christmas to all my readers...
Well, before I start, I find myself apologising for yet another lengthy spell away from here. I hope I haven't lost the few people who read this regularly but real life often gets in the way of things and these last few months have been all over the shop, as we say, and now the festive season is upon us, things don't really let up. I hope that once we're safely into 2009 and the dust has settled, a somewhat normal service may be resumed.
Anyway, just wanted to point you all in the direction of an acquaintance of mine, Lori Cunningham. Lori is an avid user of the Alesis Fusion, and it was through a Fusion forum that I first met her.
She has now released her first album, Unseen, and it's available from a number of outlets but it's probably easiest to get it via her own website.
The music is best described as ambient, ethereal electronica with soaring vocals and an "other worldly" nature.
Simply put, it's feckin' awesome stuff. You can check out all the songs on her website as well as a number of them at her MySpace page.
Look out for this beautiful songstress, I have a feeling we may hear a lot more of her soon :o)
Oh, and she's a proper synth babe too !!!
In response to this post at my favourite blog, Riemann's Cut, and to commemorate the anniversary of Freddie Mercury's passing 17 years ago today, here's a video of smash@mash-ups.co.uk's remix/reworking of a previously unheard of track.
Firstly, let me take this opportunity to apologise for the extreme lack of posts recently. Unfortunately, my day job has taken a dramatic turn for the worse and today saw the start of the end game. Suffice to say, I have just had an interview for my own job and given that there are 4 of us Trainers and only two new Training jobs, I stand a 50/50 chance. Should hear later this week.
Therefore, my spare time has been mainly used to search for alternative employment whilst trying to prove I am indispensible to my current employer !
Anyway, on a lighter note, I posted a while back about the Brett Domino Trio from Leeds who were avid users of cheap keytars and stylophones. Well, they have a Christmas single out now, called "Christmas (This Year)" and it's a bit of a cheezy belter :o)
See for yourself...
No, it's not an early April Fools. No, I'm not going off on one of my crazy "what if..." moments. This was posted on the Fairlight Yahoo Group today by the esteemed co-creator of the Fairlight CMI, Peter Vogel...
There have been discussions from time to time about replicating the CMI using a software emulation. These efforts will have limited success because the "Fairlight sound" relies on the peculiarities of the hardware used in the original design.
In the days when I was the designing CMI hardware, my greatest challenge was to minimise the distortions and artifacts that were inherent aspects of the hardware available at that time. In effect, we struggled to make the Fairlight sound less "Fairlight". So the intimate details of what makes a Fairlight sound like a Fairlight are indelibly etched in my brain.
When Fairlight brought out the Crystal Core Engine last year, my imagination ran wild. Here was a tiny board with enormous capabilities that could be configured to faithfully reproduce the CMI hardware in its FPGA (Field Programmable Gate Array). Every bit of the 1980's CMI hardware, the essence of its sound, could be reconstructed faithfully in digital hardware form.
To fully appreciate the astounding potential of the CC-1, download the brochure here:
CC-1 Brochure
I also recently discovered that ALL the IP relating to the original Fairlight CMI including all of the hardware and filter designs, sample libraries etc are still retained by Fairlight.au in Sydney.
So I have been wondering if it would be worthwhile to develop a faithful reproduction of the CMI on the "Virtual Hardware" of the CC-1?
This would perform identically to the original CMI series II or III, but run on a PC fitted with the Crystal Core card. The MIDI input would come directly into the CC-1 so there would be no problem of latency introduced by the PC.
At this stage I'd like to "feel out" the market to assess the level of interest in this project and whether the significant investment in R&D will be worthwhile.
The Fairlight Series IV (CC-1, I/O box and software) might be sold for approximately $US5,000.00.
So my question is, what do you think of this idea? How would a Fairlight CMI at this sort of price be received by the market? Who would the buyers be and how would I tap into them?
What do you think?
Peter Vogel
The Fairlight Series IV (CC-1, I/O box and software) might be sold for
approximately $US5,000.00.
A friend sent me this video on Facebook. Not a lot else to say other than if you are a fan of the Stylophone, Yamaha SHS-10 and other cheesy mini keyed Yammy units, you'll love this.
May I present, live from Leeds (and London), The Brett Domino Trio...
Here's a remix done by my friend Micky Dodds, of my tune Hope that I wrote the other week.
Hope you enjoy :)
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