Got an extra $30K lying around? Then you might be able to afford this Moog System 55, which is listed for $30,000 on eBay. The unit contains the following modules: 902 – VCA (2 inputs, 2 outputs, 3 CV inputs)  x 5 904A – low-pass VCF (24 db-per-octave, considered the classic Moog filter) 904B – high-pass VCF 911 – ADSR envelope generator (adjustable from 2 ms to 10 sec.) x 5 911A – dual trigger delay 914 – fixed filter bank (12-band, 125 Hz to 5 kHz, with high-pass and low-pass knobs) 921 – VCO (1.01 Hz to 40 kHz) 921A – VCO driver (1 volt per octave) 921B – VCO (more stable than 901B) 923 – noise, high-pass and low-pass filter 992 – control voltages (illuminated red or blue switches linked to the 904A) 994 – jack multiples (duplicates voltages) 995 attenuators CP2 – CV and trigger outputs, and filters CP3A – mixer (illuminated switches linked to the VCOs) x 3 CP8A – power switch (Moog 35 and Moog 55) It’s too pricey for my taste- I wouldn’t go over $29K. Let me know what you think a vintage Moog System 55 modular synthesizer like this is worth!

Native Instruments has released KOMPLETE 7 and KOMPLETE 7 ELEMENTS, two new software bundles that offer assortments of instruments and effects for studio production and live performance. Komplete 7 The seventh generation of KOMPLETE now comprises 24 individual products, including the latest REAKTOR 5.5 version as well as the new REAKTOR PRISM, RAMMFIRE, REFLEKTOR, TRAKTOR’S 12 and VINTAGE ORGANS. Other products now contained in KOMPLETE include the ABBEY ROAD 60s DRUMS vintage drum library, the radical performance effect THE FINGER, the acclaimed electric pianos and an electric bass by sampling mastermind Thomas Scarbee, all four acoustic pianos from the CLASSIC PIANO COLLECTION, the cinematic ACOUSTIC REFRACTIONS instrument and the distinctive REAKTOR SPARK synthesizer, amounting to over 10,000 sounds and 90 GB of studio-grade sample material overall. Komplete 7 Elements The new KOMPLETE 7 ELEMENTS collection combines the vast synthesis, sampling and effects processing capabilities of the KONTAKT, KORE, REAKTOR and GUITAR RIG player versions with over 2,000 production-ready sounds and 12 GB of sample material to cover a wide range of musical styles. This includes a full assortment of acoustic sounds with VSL orchestral material, Abbey Road drum kits, and various other classical, ethnic and band instruments, further complemented by sampled classic analog synthesizers and other vintage keyboards. For electronic sound aesthetics, KOMPLETE 7 ELEMENTS contains various distinctive REAKTOR instruments with over 1,200 presets, complemented by atmospheric ABSYNTH soundscapes and energetic sounds from the MASSIVE synthesizer, all enabled through the integrated engines in KORE PLAYER. KOMPLETE 7 ELEMENTS also includes eight authentic amp emulations and a wide range of effects based on GUITAR RIG, providing a versatile basis for guitar recording and general creative sound processing. Every copy of KOMPLETE 7 and KOMPLETE 7 ELEMENTS also includes an NI Online Shop voucher worth $60 / 50 EUR, valid towards any product from the KOMPLETE Instruments and Effects range. The suggested retail prices are $559 / 499 EUR for KOMPLETE 7 and $119 / 99 EUR for KOMPLETE 7 ELEMENTS.

Native Instruments has released Reaktor 5.5 - a free update that adds a number of improvements and additions. New in Reaktor 5.5: Fully reworked, streamlined user interface: A complete overhaul of REAKTOR’s interface delivers a new level in usability and improved workflow. The changes make REAKTOR 5.5’s iconic creative potential easier to tap than ever before. Two new synthesis modules: Additive Synthesis - The additive synthesis technology in REAKTOR 5.5 allows instrument builders to create sound in a new way. This elaborate module allows instrument designers to realize additive synthesis beyond the CPU limitations of previous REAKTOR versions, as it has been radically optimized to handle large number of partials in a more efficient way. For ensemble users, instruments can now be created that allow accesses to sound parameters that were not possible before. The included Lazerbass instrument is a ready-made example of this technology in action. Modal Synthesis - The Modal Module is a synthesis method made up of an exciter signal and a resonator, and is great for synthesizing percussive sounds ranging from mallets to vibraphones, as well as sustained sounds like woodwinds. The physical modeling algorithms used in modal synthesis simulate the behavior of real instruments, allowing for highly expressive and playable results. The first synth to utilize this technology is REAKTOR PRISM*, created by Native Instruments founder and father of REAKTOR, Stephan Schmitt. New Ensemble Content - REAKTOR 5.5 comes armed with fresh sounds and ensembles. Alongside the now-included REAKTOR Electronic Instruments 1 and 2, comes a new synth from the creators of MASSIVE – Lazerbass. Revised Structure Editor and Audio Engine – The improvements made to the Structure editor and audio engine mean greater flexibility and more powerful control over REAKTOR. Improved documentation – REAKTOR 5.5 also brings reworked documentation, with the Application Reference manual (400 pages) completely rewritten to better reflect the latest improvements, updates and enhancements within this version. All materials now refer to the new user interface while the reworked Getting Started makes it even easier to join the world of REAKTOR.

Korg has introduced the new microKey – a lightweight USB-powered MIDI keyboard. The microKEY features 37 velocity-sensing mini keys, using the same Natural Touch keybed found on the Korg microKORG XL Analog Modeling Synthesizer/Vocoder and microSTATION Music Workstation. Features: USB MIDI keyboard – thin, lightweight, and USB-powered 37 velocity-sensitive mini keys Comfortable and easy-to-play Natural Touch keyboard Octave Shift and Key Transpose features access the full MIDI note range Pitch Bend and Modulation wheels add expression to your performance Dual USB ports are ideal for adding Korg’s nanoPAD or nanoKONTROL (or other USB devices) to your setup The microKEY serves double-duty as a USB hub. The two USB ports (Type A) allow you to expand your custom control center by adding on a Korg nanoPAD or nanoKONTROL. The Korg microKey is expected to be available in November. Pricing is TBA.

Click here to view the embedded video. Novation demonstrates what to do when 5 Launchpad controllers just isn’t enough…. via NovationTV: An explanation of how connecting 6 Launchpads at a time opens up a new dimension to Ableton Live.

Click here to view the embedded video. One of the hottest areas of electronic music technology this year has been iPad music software. It’s about to take another leap forward, though, as iPad app developers add MIDI support. Here are a few examples of what’s coming. iPad Step Sequencing The video above demonstrates Synthetic Bits‘ prototype analog-style MIDI step sequencer controlling an Alesis Andromeda A6 synth via the Line 6 MIDI Mobilizer interface. The iPad, MIDI interface and app should be substantially less expensive than the hardware equivalent, and the software will just get more powerful. Click here to view the embedded video. iPad MIDI Synthesizer & Control Surface MIDI support also lets the iPad work as a versatile MIDI synth module and control surface. Pianist Pro for the iPad, for example, has added support for the Line 6 MIDI Mobilizer interface,  supporting bi-directional MIDI control. For wireless MIDI control, the V1.5 update also adds MIDI via DSMI support and optimized MIDI via OSC support. Also adding MIDI support are Omenie’s Mellotron apps. Here’s what they have to say about the update: We have early access to an advanced prototype of a quite fantastic low-cost MIDI interface for iPhone / iPod Touch / iPad. Latency is insanely low, quality is insanely good. Price – well, all we know is ‘low-cost’, this should get more clear over the next few weeks. We can’t commit right now to when the device will ship – we hope during Q4 this year, so before the holidays – but it will be immense. As soon as we can tell you more about this new MIDI interface we will, but if the design pans out it will be the nicest one we have seen yet. Having 8 of the chord pads available on the programmable pads of our in-house Axiom 49 is *brilliant*!! And continuous controllers for M3000 ABC blend, pitch and volume – it is just so fantastic to have a MIDI keyboard plugged into an iPhone! MIDI support should open up a lot of interesting options – like adding Lemur-like multi-touch control to vintage synths or creating user-friendly touchscreen interfaces for unfriendly synths like the DX series. What do you think of hardware MIDI support for the iPad, iPhone and iPod touch? Leave a comment with your thoughts!

Click here to view the embedded video. This video offers a sneak preview of SONiVOX Vocalizer – a new vocal synthesis audio effect. Here’s what SONiVOX has to say about Vocalizer: Part effects plug-in, part synthesizer, VOCALIZER is entirely new. Speak, sing, whisper, yell, or even run your drum tracks or anything else through it, VOCALIZER will take your source input apart and pitch, harmonize, de-harmonize, modify, fortify, enhance, re-fry, re-synthesize, and reassemble to your imagination’s outermost limit. The brain child of SONiVOX’s Nemesynth Audio Reasearch Group, VOCALIZER takes the science of sound and puts it on Steroids. VOCALIZER takes anything you input into it and almost magically teleports it into a dimension previously only theorized about. This is the sound of tomorrow’s hits and must be heard to be believed. Vocalizer retails for $149.99.

Synth designer Jürgen Michaelis has announced preorders for a limited run of the Jaymesonic Resonator Neuronium synthesizer, a synthesizer that offers a unique approach to synthesis: Because we get periodically inquiries on the Resonator Neuronium, we have opened a new preordering cycle until December 31, 2010. If more than 20 preorders come in until then, we at Jomox can manufacture a new run of the R.N. The Resonator Neuronium has 6 analog resonant neurons. The net parameters can be programmed by the left hand structure in form of a hexagon by use of knobs, buttons and LEDs. The cost is 2499.00 €.

Click here to view the embedded video. iPad Music Software: Phil Bilsby of AudioNewsRoom has taken an early look at the new touchAble iPad controller for Ableton Live, and came away impressed: touchAble is a serious contender for the best iPad app for controlling Ableton currently and the most competent attempt so far. It is easy to setup, has flexibility with respect to access to multiple controls and so far seems very stable. Having used this for approximately a week, I am already boxing up my Launchpad ready for Ebay, as touchAble has already made this dedicated hardware device redundant, even at this early stage of development. I think this app could be improved with better control of the clip start and length and if they could add a separate page whereby users could build there own control surface, especially for live performance situations (much like TouchOSC).  This would definitely make it the iPad Ableton controller to beat by a long way. touchAble is now available in the App Store for $16.99. If you’ve used touchAble, leave a comment and let us know if you think it will make dedicated hardware controllers redundant, too.

Click here to view the embedded video. Ran Kirlian’s Threniar Vish – an ambient improvisation, based over the Roland Juno 60 drone. The other instruments are the Access Virus Indigo and the Indigo 2 Redback. All audio is processed thru a TC Electronics M-One. via RanKirlian

Free Music: Richard Devine’s Objects Of Granularity. Here’s what Devine has to say about the track: This track was composed for the Curtis (iphone/ipod/ipad) app by The Strange Agency. This piece is a Acousmatic composition based on everyday found objects. I recorded various wine glasses, gears, metal, motors, Ratchets, chimes, croaking frog scraper, Indian bells, Tibetan Singing Bowls, Santoor, waterphone, piano, hematite magnets, processed voice, underwater ambiances, computer, and sprinkled bits of Buchla 200e/Doepfer Euro rack Modular. All of the sounds originally captured at 24-bit 96khz with a Neumann RSM 191 A/S stereo shotgun mic, SMK4060 Stereo Matched 4060-BM Miniature Omnidirectional Microphones and Sound Devices 702 recorder. You can preview and/or download the free track above.

Click here to view the embedded video. This video offers a sneak preview of  Twisted Tools’ Buffeater , a granular buffer effects add-on for Native Instruments Reaktor 5. Features: 6 Individual FX: Multi-FX version with dynamic ordering (fx are ordered in the order you play them) Internal Automation (external possible as well) Presets for each fx block within the multi-fx Templates for Kore and Maschine Buffeater is expected to ship in September for $49.

Apple today updated it’s iPod line, revving the iPod shuffle, iPod nano and iPod touch. The most interesting news for musicians is the updated iPod touch, which gets many of the features of the iPhone 4: Retina display (326ppi) Apple A4 chip 3-axis Gyro HD video recording with back camera Front camera with Facetime 40 hours of music playback If you’ve been interested in the music capabilities of the iPhone 4, but not the AT&T contract, the new iPod touch may be a good option. The pricing options are: 8 GB – $229 32 GB – $299 64 GB – $399 The iPod shuffle gets: Playlists Genius mixes VoiceOver 15 hours of music playback The iPod shuffle will sell for $49 for a 2GB player. The iPod nano gets: Multi-touch user interface 46% smaller Clip on Volume buttons VoiceOver FM radio Nike+ 24 hour battery life The iPod nano will come in a $149 8 GB version and a $179 16 GB version.

Roland has introduced GAIA Synthesizer Sound Designer, a software-based editor application for the GAIA SH-01 Synthesizer. Compatible with both Windows and Mac OS X, the GAIA Synthesizer Sound Designer allows users to access the GAIA synth’s entire set of sound parameters visually, via a computer. Once the GAIA Synthesizer Sound Designer is installed, all that is required is a USB connection between the GAIA synth and the PC. With the GAIA Synthesizer Sound Designer’s interactive interface, users have complete control over sound creation. Every control for the GAIA’s three synthesizer engines is represented, while the unique Waveform Display shows the shape of the currently edited waveform in a virtual oscilloscope, providing a graphical representation of the sound. The Action List feature allows users to record and play back every step of the sound-creation process. Additionally, the GAIA Synthesizer Sound Designer comes with many sample Action Lists that detail the creation of common sounds such as synth bass and synth lead. This feature helps beginners understand basic synthesis and aids music educators teaching in synthesizer labs. The GAIA Synthesizer Sound Designer also provides a way for users to backup, organize, and store their custom GAIA sounds. Included with the GAIA Synthesizer Sound Designer are a number of newly created patches, ready for loading into the GAIA Synthesizer. The GAIA Synthesizer Sound Designer is expected to be available in October with an MSRP of $99.00.

Roland announced today that its AX-Synth Shoulder Synthesizer is “now available in a premium black sparkle finish.” Except that they also say that the Black Sparkle keytar is “expected to be available in November with an MSRP of $1,449.00.” Get ready to rule the stage now! In November! Details on the Roland AX-Synth Black Sparkle below. Here’s what they have to say about their new sparkly keytar, the Roland Ax-Synth Black Sparkle: The new glass-particle UV finish reacts to various lighting conditions, creating a glistening appearance that is striking under stage lighting. The AX-Synth remains available in the standard white finish as well. Created with the art of performance in mind, the AX-Synth allows keyboardists to connect with their audience as guitarists and singers do. It represents Roland’s new generation of remote keyboards, offering an onboard sound engine that features a collection of the company’s best cutting-edge synth sounds. When wearing the battery-powered AX-Synth, keyboardists can escape their standard stationary rig and create kinetic musical performances, moving freely around the stage. The ribbon controller, mod bar, D BEAM, and assignable knobs give players the ability to perform memorable and expressive solos with the ultimate real time control. The AX-Synth features 49 velocity-sensitive keys, and is the first shoulder keyboard to include a 128-voice polyphonic sound engine with 256 distinct tones accessible from eight bank buttons. It can also send and receive standard MIDI messages for use with other keyboards or sound modules. The AX-Synth includes a dedicated V-LINK button to control visual elements, and a dedicated PC software editor/librarian application is available for download for players who would like to customize their own sounds.

Click here to view the embedded video. In this episode of Synthesizer Club, synthesizer expert Rory Daniels deals with a letter from a fan, and offers his take on the digital vs analog debate. via radialpukesplat

Click here to view the embedded video. Roland has introduced the Juno-Gi Synthesizer – a new keyboard that features an onboard eight-track digital recorder and pro effects created by BOSS. Record directly to a single high capacity SD card for up to 192 hours of possible recording time with a single 32 GB card. JUNO-Gi sounds can be recorded along with a vocal mic or guitar when connected via the rear-panel XLR microphone, guitar, and line level inputs. Dedicated effects processing is available for live recording, mixing, and mastering, including BOSS GT-Series guitar effects and effects designed for vocal processing. The JUNO-Gi also functions as a USB audio/MIDI interface. Users can record JUNO-Gi sounds and play software instruments in any DAW, and also record vocals and guitars while using the JUNO-Gi’s onboard effects. In addition, the JUNO-Gi comes bundled with Cakewalk’s SONAR 8.5 LE software, giving users a complete DAW solution for their PC. Features: Over 1,300 high-quality sounds optimized for live performance Friendly operation with dedicated controls and large display Lightweight, compact body with battery compatibility 128-voice polyphony Intuitive user interface, including dedicated Tone Category buttons and large display Full-featured 8-track digital recorder onboard with Guitar/Mic/Line inputs Plug in a guitar and play/record with built-in pro guitar effects derived from BOSS’ GT series High-capacity SDHC card slot for data storage and direct play Complete mobility when used with a battery-powered PA or amp such as the Roland’s BA-330 or KC-110 The JUNO-Gi is expected to ship in October with an MSRP of $1,199.00. Details below. Check it out and let us know what you think about the Roland Juno-Gi! Click here to view the embedded video. New Soundbank A new sound library has been created for the JUNO-Gi, with over 1,300 factory selections that cover a universe of instrument types and musical styles. Tone Category buttons help you scan the vast library and locate the perfect sound with ease and speed. New to the JUNO-Gi are Live Sets, which comprise up to four layered tones each — create your own unique sounds by stacking and/or splitting tones and saving them together as a Live Set. Furthermore, a Special Live Set section takes maximum advantage of the JUNO-Gi sound engine for the most advanced synth sounds. Performance and Portability The JUNO-Gi has been designed with the performer in mind. It provides supreme mobility thanks to its lightweight body and battery-power compatibility (up to three hours of continuous operation with eight NiMH AA batteries), letting you experience the freedom of performance in any environment. Roland’s battery-powered amps such as the BA-330 and KC-110 are perfect companions for the JUNO-Gi during street performances. Performers will also appreciate the JUNO-Gi’s friendly front panel, which is covered with hands-on controls, clearly marked and easy to reach. The enlarged 240 x 64 graphic LCD provides clear visibility and fast navigation, even on outdoor gigs with troublesome sunglare. Digital Recording & FX Pro recording onboard! The JUNO-Gi’s built-in eight-track digital recorder with 64 virtual tracks provides a full-featured multitrack studio environment, complete with dedicated transport controls and mix faders. The recording media is a removable SD or SDHC card, with up to 192 hours of recording time possible when using a single 32GB SDHC card! Also supported is full import and export of track data with a computer. The same pro performance effects found in the BOSS GT-Series are built into the JUNO-Gi, as well as effects designed for vocal processing. Connect a guitar or microphone directly and apply these top-quality effects for instant CD-quality sound as you record. USB MIDI & Audio The JUNO-Gi’s multifunction USB port offers both audio and MIDI functionality — a one cable connection to your computer is all you need to stream audio and MIDI back and forth and interface with your favorite music software. When you combine the JUNO-Gi with the bundled Cakewalk Sonar LE 8.5 software, you have a complete digital audio workstation package for your PC. In addition, the MIDI Controller Mode lets you operate the JUNO-Gi as a MIDI master keyboard for controlling external MIDI devices.

Valhalla DSP has announced ValhallaShimmer – an algorithmic reverberation plugin. It’s sort of like Brian Eno in a plugin – at least a classic Eno effect. You can preview ValhallaShimmer above. The example is an Erik Satie piano piece, being fed into 4 series instances of the plugin. The plugin is set for a longish reverb sound, with 3 of the instances also being set to pitch shift the feedback (at intervals of +/- 12 semitones, +/- 7 semitones, and +/- 5 semitones). Here’s another demo of ValhallaShimmer in action, on a harp loop: Here’s what developer Sean Costello has to say about ValhallaShimmer: There are several reverberation modes available, to allow the user to dial in the preferred initial sound. By adjusting the Feedback, Diffusion and Size controls, the attack, sustain and decay of the reverb signal can be fine tuned. The modulation controls can be set to produce subtle mode thickening, glistening string ensemble-esque decays, and the distinctive random modulation of the older Lexicon hall algorithms. Two tone controls and the Color Mode selector allow the timbre to be adjusted from bright and glistening to a more natural dark decay, similar to that produced by air absorption in large spaces. In addition, ValhallaShimmer has the ability to pitch shift the feedback signal. There are 3 pitch shift modes available: Single, where the feedback is shifted up or down by the Shift value; Dual, where the feedback is shifted both up and down (in parallel) by the Shift value; and Bypass, which turns off the pitch shifting (useful for “standard” reverb sounds). By setting the Shift amount to +12 semitones, and the Feedback to 0.5 or greater, the classic “shimmer” sound is produced, as heard on Eno / Lanois productions for U2 and others. The algorithms allow for the classic shimmer effects to be generated with ease, as well as a variety of pitch shifted, evolving ambiences. ValhallaShimmer is expected to be available for OSX (VST/AU/RTAS) in early September 2010, with Windows plug-ins (VST/RTAS) to follow.

Click here to view the embedded video. Calum Scott demonstrates his Wiimote Looper: Demo of a patch I wrote for the Nintendo Wiimote and Nunchuck. Functions include: loop select, record/stop/clear, playback speed, delay on/off, delay hold, delay feedback, delay mix, loop start/stop/speed, loop freeze

Click here to view the embedded video. Benoît Maubrey claims that he’s the director of a Berlin-based art group and that these are his “Audio Ballerinas”. Got a better explanation for the neighbors? Then leave your caption in the comments!

Click here to view the embedded video. Strange Musical Instruments and Guitar Synths: We’re not sure what to call Nick Demopoulos’s new instrument, the Smomid. Is it a MIDI controller? A keytar? A guitar synth? Whatever you consider the Smomid, Demopoulos ably demonstrates it with his take on Burt Bacharach’s Wives and Lovers. Here’s what he has to say about the Smomid: The Smomid is a midi controller created by musician Nick Demopoulos. It’s odd name is an acronym for String Modeling Midi Device. The Smomid was designed to allow a string player to be able to interface with it. The messages sent from the Smomid can be used to play music, manipulate video or even control robots. It makes use of several string-like sensors, five knobs and several buttons. The Smomid made it’s debut performance in 2010, and since that time has made several appearances at Dixon Place Theatre in New York, and at the Interactive Music New York Festival. via nicnut210

Click here to view the embedded video. iPad Music Software: This video captures a demo of using TouchAble for iPad to control Ableton Live from 100 meters. That sounds amazingly awesome – until you think about how many times you’ve needed to control Ableton Live from 100 meters away. The video does demonstrate, though, that TouchAble frees live users to perform away from their computer – anywhere within WiFi range.

Click here to view the embedded video. Die Antwoord & Aphex Twin perform live at the LED Festival. via orangewarrior I spent this last Saturday at the London Electronic Dance Festival in Mile End . .  Generally not a bad day, bearing in mind that the British Summer involves torrential rain & grey skies. Anyway, my main focal point of the day was seeing the Aphex Twin for the first time in roughly a decade (if not longer), so it was a great surprise to see south african rap crew Die Antwoord join him onstage for a couple of tracks (or, er.. organised shouting). Unfortunately, the audio and video quality are mediocre, so it doesn’t really capture the event. If you know of better quality audio or video from the event, leave a link below!

Click here to view the embedded video. “Brains put out electrical waves. I wouldn’t be at all surprised if some day it were possible to do away with lines in music, such as writing it out and playing the notes. You’ll just be able to think it.” Raymond Scott, 1949 Music Of The Mind is a unique project, combining performance theater & scientific experimentation, using brain-computer interfaces to create brain music. The brain emits tiny electrical signals with every thought or mental process we have, and the specially designed headsets worn by the players in Finn Peters’ group can read these signals and translate them into musical tones via a computer. This technology allows the computer to translate the musician’s brainwaves into sounds and tones. According to the group, their music “falls somewhere between Kraftwerk and Sun Ra. The compositional approach comes directly out of the BBC Radiophonic Workshop and is reminiscent of 60s sci-fi funk and exotica.” The lineup: Finn Peters: Flute, Saxophones Matthew Yee King: Supercollider, Neurosky Tom Skinner: Drums, Electronics Dave Price: Percussion Oren Marshall:Tuba via finnpeters, opengardens

Click here to view the embedded video. iPad Music Software: This video captures The iPad Orchestra performing Sweet Dream. The iPad Orchestra performs in this video with Seline HD, an iPad synthesizer that features a unique keyboard layout, called ioGrid. Melodies are played with two hands, while keeping the iPad on the knees or on the table. An adjustable 16-note scale is divided into 2 parts (odd and even), which are mapped on the left and right grids. The iPad Orchestra was founded in 2010 to “demonstrate the latest achievements in digital mobile music.” “We strongly believe that some day people will be able to play any music instrument from mobile devices, such as an iPad,” states the group. Can iPads really replace orchestral instruments?  Leave a comment with your thoughts! Seline HD is available now in the App Store for $5.99. via AmidioInc: “Sweet Dream” performed live for audience on 20.08.2010 by “The iPad Orchestra” on 4 iPads running app Seline HD by Amidio. http://ipad-orchestra.com

If you just can’t get enough of early Depeche Mode, you’ll be happy to know that Vince Clarke & Martin Gore are working on a techno-ish track called Zaat. No word on how soon you’ll be able to here this reunion of early Depeche Mode members. Clarke’s keeping busy working on a children’s record for Rounder Records, the latest Erasure album and a possible collaboration with Amanda effin’ Palmer. Schwing! via Vince Clarke

Detune – an application development startup created by the developers of Korg DS-10 – have announced Korg M01, a new music workstation for the Nintendo DS based on the classic Korg M1. The  Korg M1, released in 1988, sold for over $2,000. Korg M01 is designed to emulate the Korg M1 – at least many of its features and sounds – as a $60 app that runs on a $130 handheld computer. Can a cheap app for a game platform replace a vintage keyboard synthesizer? Check out this demo for a taste of what the Korg M01 can do, and leave a comment with your thoughts: Click here to view the embedded video.

Stories of the Internet’s death are premature, according to popular synthesist Jean Michel Jarre. Jarre is featured in the latest Uncut magazine, which attributed to him some pessimistic views about the Internet: “The sad thing about the net is the way that this anarchist dream has been turned so swiftly into the most brutal, cynical and intrusive marketing tool ever seen. “I predict the next cultural revolution will come from today’s children. They will recognise the Net for the ugly, exploitative sham that it is and reject it.” Pretty harsh words for a musician that’s so popular on the Net. But Jarre says he was misquoted. The musician posted this statement on his blog this morning: Suite à une mauvaise interprétation, voire une mauvaise traduction d’une interview que j’ai donnée récemment au magazine anglais Uncut, je souhaite rectifier les propos qui me sont prêtés et qui courent un peu partout sur le net depuis ce matin. Je n’ai jamais dit que l’Internet était mort, pas plus que je n’ai évoqué l’expression “imposture moche” à propos d’internet, qui est un outil dont je n’ai pas à vanter les évidents mérites! J’ai simplement avancé l’idée, qu’après une époque où Internet est considéré comme un espace de liberté, une grande toile fraternelle sur laquelle tout le monde échange tout, plus ou moins gratuitement, il se pourrait bien que les rebelles de la prochaine génération “prennent le maquis” du web en considérant qu’il est devenu la plus grande machine d’exploitation de tous les temps, contrôlé par des multinationales bien plus puissantes que les majors du disque ne l’ont été par exemple, dans le domaine de la musique ces dernières années… Ceci est un exemple, parmi d’autres, nous montrant que, constamment, n’importe quelle info circule, n’importe comment, sur le web. Notre responsabilité et la plus grande difficulté de notre relation, dans les années à venir avec le web, va être de vérifier la véracité du flot d’informations que nous recevons à chaque seconde, en particulier quand on les relaie… Bon courage. Here’s the Googlish version: Due to a misunderstanding or a bad translation of an interview I gave recently in the British magazine Uncut, I would like to correct the statements that are loaned me and running around on the internet since this morning. I never said that the Internet was dead, nor have I mentioned the term “sham ugly” about the internet is a tool I did not praise the obvious merits! I simply put forward the idea that after a time the Internet is considered an area of freedom, a large canvas on which all the fraternal world trade while more or less free, it may well be that the rebels next generation “go underground” Whereas the web has become the largest machine in operation of all times, controlled by multinational corporations more powerful than the major labels have not been, for example, in the field of music in recent years … This is an example, among others, showing us that constantly circulate any information, no matter how, on the web. Our responsibility and the greatest challenge of our relationship in the years to come with the web, will be to check the veracity of the flow of information we receive every second, especially when the relays .. Good luck. If you can share a more accurate translation of Jarre’s statement, leave a comment! Image: Thomas Alsina

Synthesist Dave Brown has created a fantastic modern version of electronic music pioneer Raymond Scott’s Circle Machine. The original Circle Machine, created by Scott in the 1950’s, was a pioneering electromechanical music sequencer. Brown’s take on the machine isn’t intended to be a historically accurate recreation, but a working modern version of the Circle Machine: I built this Circle Machine fun since I thought it would be visually interesting.  I didn’t intend for this to be a precision sequencer nor a faithful recreation of the Raymond Scott Circle Machine.  There are slight issues with absolute repeatability due to ambient room lighting and the CdS sensor settling time.  Obvious modifications could include using a higher torque stepper motor or a DC motor and changing the sensor to a photo transistor.  However I am pleased with the results as it works well to generate interesting sequences and is fun to watch. Brown’s Circle Machine is appealing for many reasons. It’s gorgeous, it has a sort of steampunk sensibility and the whirligig motion is just fun to watch. Click here to view the embedded video. Here’s what Scott had to say about his early step sequencer: This device is what I’ve named The Circle Machine. The intensity of each light in this circle is individually adjustable. At the tip of the arm there is a photo cell. This cell is a part of an electronic sound generating system, so adjusted that the more light the cell ’sees’ the higher the pitch of the sound produced. The cell also moves around in a circle at adjustable speeds. One of the controls, above the circle of lights, changes the pitch center of the complete cycle when required. As you will notice, there are many variable functions possible. Check out Brown’s Modularsynthesis site for details on the genesis and construction of his unique Circle Machine.

Click here to view the embedded video. Which one of these trance songs is not like the others? Here they are in order: Lemon & Einar K – Anticipation Dereck Recay – Cry To The Sky (Mark Arbor Remix) RAM – RAMsterdam (Jorn van Deynhoven Remix) Carlo Resoort – Blinded (Original Mix) Dmitry Ference ft Alexander Bobkov – Out There (Wonderful Feeling & M.T.C. Remix) OK – it’s a trick question. But do you think this represents a lack of originality? Or is it a matter of musicians working within the conventions of their genre, as jazz musicians have recycled the I Got Rhythm chord changes for the last 80 years? via sirsmirnoff, greeg

The LFO Expander Modulation Processor is a € 375 stand-alone add-on for your analog synthesizer, designed to give extra functionality while performing your music. Its main feature is an LFO generator that lets you control LFO depth and LFO speed. Features: external analog LFO processor generates an LFO and bend signal that can be mixed together LFO and bends controlled by hand, by foot pedal (active/passive) or by control-voltage for Moog minimoog, Yamaha CS80, CS60, CS50, ARP 2600 and all other synthesizers having external inputs for vco, vcf or vca control. LFO depth and rate can be controlled at the same time by one single movement adds vibrato, wah-wah, tremolo, pitch bends or other modulations to your synthesizer allows mixing of a sequencer-cv with your synth’s keyboard-cv so you can transpose sequences in real-time allows attenuation and mixing of cv’s. Control the filter cut-off frequency of your ARP 2600 with a knob that’s just in front of you or add variable keyboard-tracking to your ARP 2600 fits on top of your ARP 2600 keyboard, minimoog keyboard etc. LFO range from 0,2 Hz up to 275Hz selectable triangle- or square waveform runs on batteries (2x 9V) or dc-transformer A compatibility chart is available at the Expander site. Here some of the reasons behind the creation of the LFO Expander: The Yamaha CS80’s keyboard aftertouch can control LFO-depth and LFO-speed at the same time. If you’ve ever played a CS80, you will know how much emotion this adds to your music. However, applying aftertouch on the keys doesn’t allow for fast playing. By connecting the LFO-expander to the external input, you can control the LFO- depth and speed with a foot-pedal and control pitch, filter or volume on a new manner. If you own a Yamaha CS50 or CS60, you can control LFO depth by applying aftertouch but you can’t control LFO-speed. By using the LFO-expander you can and introduce CS80-like effects on these synthesizers. For minimoog owners, if you want to use a LFO, you have to use oscillator 3 for this purpose since there’s no dedicated LFO on the minimoog. That means you can only use osc 1 & 2 as a sound-source. When connecting the LFO-expander to the vco-input, you have your long-waited-for LFO and make 3-oscillator sounds! Almost every analog synth featuring cv-out & cv-in connectors can profit from the LFO-expander for pitch-modulations: simply connect the cv-out to an input of the LFO-expander and connect the output of the LFO-expander to the cv-in of your synth. Now you can apply vibrato or pitchbends by simply pressing the pedal connected to the LFO-expander or by manually turning the knobs on the expander. Many analog synthesizer do have cv-in & cv-out or vco-control: ARP (Odyssey, ARP 2600) Moog (minimoog, prodigy) Roland SH-series, Promars Yamaha CS-series (CS10…..CS80) Simply check the inputs of your synth.

Click here to view the embedded video. Mastering Engineer Greg Calbi offers his thoughts on the “loudness war” and why iPods are killing music. via ArtistsHouseMusic: Greg Calbi is a Senior Mastering Engineer at Sterling Sound. He discusses compression and the current debate over the appropriate level of loudness for a mastered album.

P.K. Good’s Electronic Music Projects is a book from 1979 that was intended as a basic introduction to electronic music DIY. via It’s Full Of Stars

Free Windows Music Software: DSK Music has released DSK Guitars, three guitar VST plug-ins for Windows. Features: 3 Virtual Instruments: DSK Guitars Acoustic DSK Guitars Nylon DSK Guitars Steel High expressive and dynamics sounds. Clean and very simple GUI. If you give them a try, leave a comment with your thoughts!

Did you know that the screech of a TIE Fighter is a drastically altered elephant bellow. Or that the voice of Chewbacca was constructed out of pieces of walruses and other animal sounds? Lucasfilm has published a new book, The Sound Of Star Wars, that at the work of Academy Award-winning sound designer Ben Burtt. In this aurally astonishing and visually engaging book, New York Times best-selling author J. W. Rinzler reveals the illuminating history of the sounds that make the Star Wars universe so believable, as recounted by their creator, legendary sound designer Ben Burtt. An attached sound module with an exterior speaker and headphone jack lets readers listen to more than 250 unique sound effects, and more than 300 photographs illustrate the epic’s many memorable scenes. Yes – one more reason to give George Lucas your money – but the excerpts make it pretty tempting. Here, Burtt explains why he favored found sound over electronic sound: When George Lucas approached Burtt about making the first Star Wars film, he had specific desires for how his fantasy world should sound. As Burtt puts it, the sound effect “language” of science fiction films at the time was pretty much electronic. Early films such as The Day the Earth Stood Still, Forbidden Planet, and War of the Worlds were created with clean, electronic-sounding sound effects and most films and television series after were created in the same mold. During Lucas’ first conversation with Burtt, he stated that he wanted an “organic soundtrack” and a “used universe ” He wanted squeaky doors, rust, and motors that didn’t start up quickly. Burtt’s solution was to collect sounds from the real world rather than use a Moog synthesizer as an initial source. “We did incorporate an element of electronic sound,” Burtt continued, “but it was imbedded in a world of organic sounds.” With sound devices based on the real world, the effects would seem authentic to the listener in some way even if they couldn’t identify the source of the sound. If you’ve read The Sounds Of Star Wars, leave a comment with your thoughts!

Click here to view the embedded video. Image Line put this video together to celebrate 12 years of free lifetime updates for FL Studio. Image Line probably could have scammed people when they changed the name from Fruity Loops to FL Studio, but no – they were hell-bent on saving you money. Apparently Fruity Loops is an anagram for “Lousy Profit”. Full on! All the way! What does it mean? If you’re one of Synthtopia’s hard core FL Studio fans, let us know how much you think you’ve saved.  via imageline: Video celebrating over 12 years of Image-Line’s Lifetime FREE Update policy (since 1998). For more info click on - http://www.image-line.com/documents/news.php?entry_id=1282608630

Click here to view the embedded video. This is the official intro video for MIDI Fighter, a $140 DJ MIDI Controller that’s designed to be customized and hacked, but also to be used as a plug and play device. Details at the Techtools site. via eangolden: Go here for more info: http://techtools.myshopify.com/products/midifighter-diy-kit

Click here to view the embedded video. This Ableton Live tutorial, by danny bonnici,  takes a look at how to use sidechaining.

Click here to view the embedded video. This video, by Jan Vogles, takes a fun look at the new Roland AX-09 keyboard synthesizer. Don’t try this at home! “I made this video with my friends at work,” says Vogles. “Yes, we actually sacrificed a real AX-09 by taking it for a swim. But it looks really cool.” Sounds like a good day at work, doesn’t it? via Nick Dynice

Image: Switched On Austin Saturday Synth Porn: It’s rare to see a vintage synthesizer in the shape of this classic Korg MS-10 analog synth, which even has the original box and manual. Sweet! via the Synthtopia Flickr Group

Click here to view the embedded video. iPhone Music Software: This video, via PalmSounds, compares iPhone guitar interfaces, looking at how they sound clean and with the amp modeling software that is provided with the interface. The iPhone guitar interfaces include: PRS GuitarBud Griffin Guitar Connect iRig AmpKit LiNk GuitarJack They liked the AmpKit LInk with AmpKit+ the best.  If you’ve used any of these interfaces, with guitar or other gear, leave a comment with your thoughts!

Click here to view the embedded video. Mikrosonic RD3 is a new groovebox app for Android phones. It combines a 303-style synthesizer and a drum machine with different drum kits. Features: realtime step sequencing realtime processing synth high quality filter mode for powerful devices multitouch control drum machine with 8 drum kits 4 patterns per instrument 3 play modes: solo, loop or random load/save sessions cut/copy/paste pattern RD3 sells for €3.49. System Requirements: Android 2.1 or higher screen resolution 480×320 (HVGA) or higher 550 MHz CPU or faster supporting ARMv7 Tested on: Motorola Droid/Milestone Nexus One Samsung Galaxy S HTC Desire via mikrosonic

Click here to view the embedded video. NSFW: Hungarian keytarists’ Soerii & Poolek’s mutant video for their song Elton John is pretty much exactly what you might expect from a Hungarian keytarists’ video…… via apc

Click here to view the embedded video. Calling this thing a drum machine may be a stretch, but at least now you know why there are always weird sounds coming from your neighbor’s attic. via lsawilson: Solenoids are triggered using pd and an arduino. They are hooked up to things in the room and tuned glasses. The iPhone uses a custom TouchOsc patch to control the patch in puredata.

Click here to view the embedded video. This is the music video for Synthjumk’s Synthpop Revolution. via synthjunk: A synthpop tune and a robot.

Click here to view the embedded video. Keith McMillen Instruments has introduced StringPort MIDI Out, a $595 system that converts audio from hexaphonic guitar pickups into accurate MIDI data, with low latency. StringPort MIDI Out contains a hardware interface and software application that integrates with industry-standard hexaphonic pickups (such as Roland GK, Graph Tek, Zeta and RMC models) through high speed USB2. “We listened to hexaphonic guitar players who were asking for a product that would reveal the most accurate and intimate representation of their guitar playing in order to drive their internal synthesizers and outboard MIDI sound modules,” says KMI founder Keith McMillen. “We believe that StringPort MIDI Out is now the best in class product for the 13-pin guitar world.” This MIDI data can drive sequencers such as Logic, Digital Performer, or Cubase, digital audio workstations such as Pro Tools and Ableton Live, virtual synthesizers, samplers, and any external MIDI sound module or keyboard. StringPort MIDI Out can be upgraded to the full StringPort software suite. via SonicState

Warm Days by Carl Sagan’s Ghost Free Music Friday: Music For Home Offices: Volume Two is the latest ambient collection from Carl Sagan’s Ghost (Daniel Davis). About his music, Davis notes: “What we do for money is not who we are. It is what we do for free, what we do only because of passion, that makes us who we are.” You can preview the album above. If you like Volume Two, don’t miss Davis’ original collection.

Click here to view the embedded video. This video offers musical excerpts from Tristan Perich’s 1-Bit Symphony –  an electronic composition in five movements on a single microchip. Though housed in a CD jewel case, 1-Bit Symphony is not a recording in the traditional sense; it “performs” its music live when turned on. A complete electronic circuit—programmed by the artist and assembled by hand—plays the music through a headphone jack mounted into the case itself. 1-Bit Symphony is now available from Cantaloupe Music.

Click here to view the embedded video. If you’re interested in advanced Launchpad configuration, this Novation Launchpad tutorial series by Rupert Brown may be the ticket. Part 1 looks at momentary controls & switching from default to Automap configurations. Click here to view the embedded video. Brown’s second Novation Launchpad tutorial in this series covers how to cut up drumloops during a live performance. Click here to view the embedded video. Episode 3 in this Novation Launchpad tutorial series on advanced configuration takes a look at how to get fine control of your faders and effects on the Launchpad. Click here to view the embedded video. The fourth episode of Brown’s series of Novation Launchpad tutorials covers how to set up Launchpad FX.

Click here to view the embedded video. iPad Music Software: This quick video demos using TouchOSC and Osculator to control Dr. Octo Rex in Reason 5. This looks pretty awesome – but will be killer once the kinks are worked out. via PeffTV: TouchOSC for iPad layout with loop switching controls for the Dr.OctoREX loop player in Reason 5. Using Osculator 2.10 beta to configure feedback messages that switch off buttons in TouchOSC. Osculator could really use a ‘bang’ event to make this work perfectly.