BOSS Intros RC-505 mkII, RC-600 Loop Station Loopers

BOSS Intros RC-505 mkII, RC-600 Loop Station Loopers
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BOSS has officially announced two new Loop Station loopers, the RC-505mkII and RC-600.

BOSS says that “the RC-505mkII retains everything that made the original so loved and adds a wealth of new features to make the looping experience even more creative and free flowing”.

Each of the RC-505mkII’s five stereo tracks now includes customizable FX and Track buttons, making it easier to color and control loops in the heat of the moment. Users can set up various parameters and trigger them with a press, hold, or double-click. Pressing the Undo/Redo button reveals a secondary layer to double the control options.

Two external control jacks are also available for connecting footswitches or expression pedals, and each has its own dedicated set of parameters. And with the Assign function, users can set up 16 additional targets for hardware control and MIDI operation.

The RC-505mkII also provides a greatly expanded FX palette to process sounds during recording and playback. There are 49 Input FX and 53 Track FX types to choose from—including new vocal harmony effects—and it’s possible to use up to four in each section at once. Groups of four Input FX and Track FX can be stored in four banks for quick recall, and a step sequence function is available in some FX to create dynamic real-time movement.

The RC-505mkII’s expanded connectivity and onboard audio processing allow performers to do more with less external gear. There are two XLR mic inputs and two mono/stereo line input pairs, plus an input mixer with two mic compressors and independent channel EQs. Three stereo output pairs, a headphones output, and an output mixer are also available, complete with assignable routing options and master reverb and compressor effects. In addition, the RC-505mkII’s panel faders have longer throw for more precise adjustments and rigid construction for a more solid feel.

Features:

  • 32-bit AD/DA and 32-bit floating-point processing
  • Five simultaneous stereo phrase tracks with dedicated controls and independent volume faders
  • Input FX and Track FX sections, each with four simultaneous effects and four quick-access banks
  • Customizable FX and Track buttons for each phrase track
  • Massive onboard effects selection with 49 Input FX types and 53 Track FX types, including new Harmony, Electric FX, and many others
  • New ultra-durable faders with longer throw for more precise adjustment
  • Newly added Mark Back function provides enhanced undo/redo flexibility while performing
  • Two XLR mic inputs with phantom power, two stereo line input pairs, and three stereo line output pairs
  • 99 memories, each containing five phrase tracks, custom effects and playback settings, control assignments, and more
  • Synchronize your loops with over 200 onboard rhythm patterns and 16 drum kits
  • Deep MIDI control support
  • Two external control jacks, each with support for up to two footswitches or an expression pedal
  • USB for data backup, phrase import/export with BOSS Tone Studio, and pattern import with the RC Rhythm Converter
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The floor-based RC-600 Loop Station lets you capture audio from multiple mics and instruments, with six stereo phrase tracks, nine freely assignable footswitches, three pedal modes, and deep external control support. There’s also a large, circular loop indicator and seven top-level LCD screen variations to provide visual feedback on current operations.

With the RC-600’s 49 Input FX and 53 Track FX types, users can process sounds before and after loop capture. Included are versatile effects from the BOSS library, a guitar-to-bass simulator and vocal FX. The Track FX selections also include DJ-style effects like Beat Scatter, Vinyl Flick, and more. Up to four Input FX and Track FX can be used at once, and banks of four can be stored in each section for quick recall.

The RC-600 also offers over 200 built-in rhythms in styles ranging from rock, pop, and acoustic to Latin, jazz, and electronica. Each rhythm type includes four pattern variations, intros and endings, and automatic fills to transition between sections. It’s also possible to import SMF rhythms using the BOSS RC Rhythm Converter software. And with 16 different kits, users can transform grooves with sounds from heavy rock to light percussion.

The RC-600 comes with the same connectivity and mixing features as the RC-505mkII.\

Features:

  • 32-bit AD/DA and 32-bit floating-point processing
  • Six simultaneous stereo phrase tracks
  • Ultra-flexible onboard control with nine freely assignable footswitches and three pedal modes
  • Massive onboard effects selection with 49 Input FX and 53 Track FX types and the ability to use four at once in each section
  • Time-based effects can automatically sync to rhythms and loop tempo
  • Two XLR mic inputs with phantom power, two stereo line input pairs, and three stereo assignable line output pairs
  • 99 memories, each containing six phrase tracks, custom effects and playback settings, control assignments, and more
  • Synchronize your loops with over 200 onboard rhythm patterns and 16 drum kits
  • Deep MIDI control support
  • Streamlined and durable metal body
  • Large circular loop status indicator and informative LCD screen with selectable display modes
  • Two external control jacks, each with support for up to two footswitches or an expression pedal
  • USB for data backup, phrase import/export with BOSS Tone Studio, and pattern import with the RC Rhythm Converter

Pricing and Availability:

  • The BOSS RC-505mkII Loop Station will be available in the U.S. in January 2022 for $599.99.
  • The BOSS RC-600 Loop Station will be available in the U.S. in December of this year for $599.99.

Cherry Audio VM900 Collection, A Software Recreation Of 27 Classic Moog Modular Synth Modules

Cherry Audio VM900 Collection, A Software Recreation Of 27 Classic Moog Modular Synth Modules
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Cherry Audio has introduced VM900 Collection – software emulations of classic Moog 900-series modules for their Voltage Modular platform, for macOS & Windows.

VM900 offers software recreations of 27 modules, including: the early 901-style and later 921-style oscillators; the 904 ladder filter, with lowpass and highpass versions, as well as an “ABC” combo version with the 904C Coupler module; the CP3 Mixer, including both early and later circuit styles for vintage-correct overdrive or purer tones; the 960-series sequencer, updated with a 1/12 V quantized output for each sequence row; and the rare VM1630 Frequency Shifter.

Here’s what they have to say about the VM900 Collection:

“With the sound, look, and feel that started it all, the Cherry Audio/MRB VM900 Collection delivers the audio and visual experience of the legendary 1960s and 1970s-era Moog 900-series modules with spine-tingling impact and accuracy. Every detail has been expertly reproduced, for a virtual window into the halcyon days of early analog synthesis. Award-winning synth designer Mark Barton’s (MRB) proprietary DSP coding reproduces each and every sonic nuance with unprecedented accuracy.

The VM900-series designs remain true to the originals, and have not been altered or updated to reflect modern trends. Panel layouts and operation have been preserved in order to present a one-to-one early analog experience like no other. From oscillator drift to warm mixer overdrive to painstakingly reproduced panel art, it’s all there.”

Pricing and Availability:

The Cherry Audio/MRB VM900 Collection is available with an intro price of $79 USD (normally $99).

The trippy, rave-y 90s project who scored Mortal Kombat and Marathon

You haven’t hit peak 90s until you’ve got a rave-y techno project with the track “Welcome To My Mind,” tons of vintage CGI, scores for Mortal Kombat and Halo predecessor Marathon, and an acquisition by Thomas Dolby’s Internet audio startup. Let’s take a moment and revisit Psykosonik and Power of Seven.

Dunno, maybe with all this 90s rave stuff coming back, some trend DJ can drop one of these into a set. Hint, hint.

But centering around musician Paul Sebastian, the 90s techno project Psykosonik and the later game-focused publisher Power of Seven made some epic electronic sounds.

The logical starting point to this story is definitely “Welcome to My Mind,” with ultra-1993 vocals, nerdcore rapping before it was ironic, slightly dorky square rhythms, and fantastic computer graphics. Plus speech synthesis, of course. (That hook also feels weirdly similar to The Monkees’ 1966 “Steppin’ Stone” – not in a lawsuit-ish way, but in a deja vu way, yes. Or that’s just me)

And yeah, there are those rave/trance riffs that are infecting everything these days all over again. This track also found its way onto the Psychonauts 2 soundtrack.

If the animation looks vaguely familiar, it’s because most of it is by legendary animator Karl Sims. (Talk about peak early 90s – I recognized the images from watching them on The Mind’s Eye LaserDisc.)

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Psykosonik is so peak 90s, you’d be forgiven imagining this was derivative or parody. It’s not – it’s just some good Minneapolis cyberpunk, basically. The project was born as co-founder Theodore Beale found Paul Sebastian; the band would grow to add personnel Daniel Lenz, Christian Waangensteen, and Michael Larson.

Here’s where things take a dark turn – and maybe the 90s Internet predicts some of the toxicity and hate of 21st-century social media. Beale winds up going on to take on the alias Vox Day – yeah, depressingly, this otherwise wonderful 90s techno project includes that Theodore Beale. (It’s always a bad sign if your Wikipedia entry just introduces you this way.) And he winds up trying to amplify the most misogynistic, racist, antisemitic, and generally awful qualities of both the gaming and science fiction scene. (Sound familiar?) That included working on the infamous Sad Puppies project to basically make the sci-fi Hugo Awards take on far-right ideals, going far enough off the deep end that even The Wall Street Journal described him as “hated.”

So, if Beale is a far-right Sith lord of the Dark Side, at least I couldn’t find any evidence that his colleagues were. Beale left after 1994, meaning most of the tracks here don’t include him. (Yay! Sure, maybe the loss of the lyricist in the band explains why the later tracks are instrumentals or just repeat a single word – “Marathon” or “Infinity” especially – but I’d say that’s also a feature, not a bug!)

The evil of Beale aside, my introduction to this project was through Sebastian and game music. Paul Sebastian also founded Power of Seven, a digital content publisher focusing on games. And if you played 90s Mortal Kombat, or saw the movie, or played the blockbuster Bungie games for the Mac of this period, you know the results.

“Welcome to My Mind” and others got picked up by superb SNES release X-Kaliber 2097, plus gems like this (oh, Roland orchestra hits – memories):

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The greatest notoriety came from the score for the 1997 film Mortal Kombat: Annihilation:

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Mortal Kombat (the 1995 game) also got this stomper of a mix from the band and none other than legendary Josh Wink – sorry, not the better-known theme by The Immortals, but maybe actually a better track:

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Marathon 2: Durandal – the Mac-based DOOM-killer that had us staying up late firing alien weapons at each other over AppleTalk – had an absolutely killed score under the Power of Seven name, which seems to have Sebastian’s musical fingerprints all over it.

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Bungie’s Marathon series would of course lead to a Microsoft acquisition and the Halo series, moving from a few Mac nerds to the larger bro population. Microsoft missed the opportunity to keep EDM as part of that franchise, so the last hurrah wound up being the ultra-rave energy of Infinity, the capper to the Marathon trilogy:

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Maybe holding up better musically, Power of Seven also worked on the little-known, ahead-of-its-time Oni, with an evocative score by Martin O’Donnell, Paul Sebastien, and Michael Salvatori:

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What happened to Power of Seven? Well, I couldn’t track down the personnel, but the project itself was evidently acquired by Beatnik. That’s the company founded by Thomas Dolby as Headspace, and most notorious for popularizing MIDI ringtones. But that’s a 90s story for another day. (Degrees of Dolby, though? He scored The Mind’s Eye and sequels.)

Let’s leave this with some Panik Control (also on the soundtrack of X-Kaliber 2097), to go back to the project’s roots:

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And yeah, maybe your next electronic project should have four members instead of one. Just… make sure none of them are racist assholes, okay? It’s normally not so hard to quiz them and figure it out.

Berghain’s Ostgut Ton label announces 16th anniversary compilation

Ostgut Ton is marking 16 years of operations with a new compilation, ‘Fünfzehn +1’.

Taking in 20 tracks, the compilation will first be released digitally on 5th November, with a 2xCD and 5×12″ box set release set to follow on 3rd December. The tracklist features a number of label affiliates, as well as various regulars at Berghain.

There are first-time studio collaborations between Len Faki and Honey Dijon; Avalon Emerson and Roi Perez; Marcel Dettmann and Norman Nodge; JASSS and Silent Servant; Barker and Luke Slater; Ben Klock and Etapp Kyle; Martyn and Duval Timothy; and Answer Code Request and Gerd Janson, among others. 

Tama Sumo and Lakuti have also contributed a collaborative track, and there’s a new cut featured from MMM, the project of Errorsmith and Berghain resident Fiedel. 

A statement from Ostgut Ton about the compilation reads: “Originally planned for release in 2020, the music focuses on the interwoven nature of the label and the club in its multitude of different spaces and musical facets. Ostgut Ton artists and close affiliates worked together in pairs to make music dedicated to five different floors, each represented by a specific 12″ vinyl.”

Find a full tracklist for the compilation via Ostgut Ton’s Bandcamp page.

A number of the artists who’ve collaborated on the release played together for Ostgut Ton and Berghain’s three-day livestream from inside the venue in July.

Ostgut Ton is also lining up a new album from ‘Fünfzehn +1’ contributor JASSS, which is out in November.

Read Avalon Emerson’s recent DJ Mag cover feature here.

AAS’ elegant Multiphonics CV-1 software modular now has more filters, Low Pass Gate

If you weren’t already won over by AAS’ unique physical modeling components and refined interface, now the Multiphonics CV-1 adds essential historical filters to its palette.

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There’s a live stream coming today, too, to tour some of this stuff:

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Even in a crowded software modular market, the Multiphonics CV-1 is something special. Apart from coming from the company that produced the Tassman modular and has contributed over the years to various physically modeled instruments, the CV-1 is just uniquely focused. It doesn’t do everything. It doesn’t have an endless array of modules. Instead, it has a few really essential modules with polished designs and challenges you to patch what you want from those.

And believe me, I should know – I have to routinely flirt with the likes of Reaktor, VCV Rack, Cherry Audio modular, and others just to try to keep up. There’s something refreshing about some of the software modular that do less, but do it really well. (See also the Reason Studios Complex-1 west coast modular, also in that vein.)

So, good news here:

One, most of what AAS makes is now Apple Silicon native – including the CV-1. I’m right now running this on the M1 Mac mini, and it feels like I’m on a high-end workstation.

Two, now you get a wider range of filters to work with, which absolutely opens up what your patch can sound like.

At the center of that what makes you come back to the CV-1 over and over again is unquestionably the OBJEQ filter, the unique physically modeled tech that gives everything a material, resonant sound. It’s the same as AAS offers on its own in their AAS Objeq Delay plug-in (also worth a look – and there’s even an iOS app, too, so you can Objeq everywhere). And it is actually a load of fun working with OBJEQ in more “traditional” patches because it imbues your patching with distinctive and adventurous sounds.

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But – pleasurable as that is, you might not want it in every patch, or as the filter in every part of every patch. So 1.1’s free update is a big deal – even just having a couple more filter flavors to choose from massively expands possibilities.

CV-1 already offered the State Variable Filter (SVF), probably known to most synthesists as the Steiner-Parker filter. (Arturia’s synths, like the MiniBrute, use this design, for instance.) The SVF covers a lot of other ground – you get low-pass, high-pass, and notch outputs (notch is labeled “band-stop”). AAS’ module has a delicious “growl” knob, and you can use both 12dB and 24dB/octave outputs.

Now you get two more:

Ladder to Heaven

The Ladder Filter is of course the famous Moog filter. Here, you get again a lot of additional controls – dedicated outputs for 6, 12, 18, and 24 dB/octave curves, a Drive control, FM, and just oodles of CV patching. The modeling here just sounds superb, and even for all the choices out there, this is exceptional in terms of amount of control it affords.

This video covers both the SVF and that new Ladder:

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West Coast has the LPGs

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The Low-Pass Gate is the signature filter-gate combination from the Buchla synths, and essential to its sound. But honestly, you don’t need the history – LPGs are just one of the best things since sliced bread, generally. They’re perfect for making slappy, sharp, percussive sounds and envelopes in a way that just seems natural and organic.

AAS’ implementation here is compact but versatile – and takes a lot of the best of the Buchla design. They’ve built in modeling again, so that the circuit emulates photoresistive opto-isolators. They even made each channel distinctive in character, as it would be on the real thing. You can use the channels separately for 6dB frequency response and longer decays, or get a shorter decay (and steeper 12 dB/octave frequency response) by running them in series.

They’ve also added a dedicated Ping trigger input – it’s right there inside the module, and you can use a gate or trigger to then “ping” the LPG.

It’s well worth reading the manual on this, as this single module is one in which you can spend a lot of time – and AAS did a great job documenting it:

https://www.applied-acoustics.com/multiphonics-cv-1/manual/lpg/

I really can’t wait to play with this one. I think it’s just what I need for a tough production / performance deadline next week. Just first I have to switch gears back to VCV Rack for teaching tomorrow. But expect more words from me on CV-1. If someone forced you to live on just this plug-in, you’d find tons to patch and explore.

US$99.

https://www.applied-acoustics.com/multiphonics-cv-1/

Proximity and Monteraa bring new life to Nervo’s ‘Horizon’

Proximity and Monteraa bring new life to Nervo’s ‘Horizon’Nervo Photo By Chloe Paul

Proximity has teamed up with Montraa to release an art film for Nervo‘s single, “Horizon.” Featuring elegant dancers and an enthralling soundtrack, the film finds a couple dancing around one another and contorting their bodies, flashing lights moving around them. Director Viktorija Pashuta said in a press release,

“With ONE art film we tried to deliver a powerful message—that we all are given a ticket in life and despite all the challenges and obstacles we come across during this crazy ride—we should remember that we always have a choice how to live it.”

Omar Zabian, founder and CEO of Montraa, said in a press release,

“This project represents the energy of Hope, the power of Unity and the magic of Love. Even in the midst of a global pandemic, Music heals us, Art inspires us. It’s what the world needs now, and always.”

Featured image: Chloe Paul

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Coachella revises COVID-19 vaccination policy for 2022 event

Coachella revises COVID-19 vaccination policy for 2022 event29virus Briefing Coachella FacebookJumbo Emma Mcyntire

In a recent amendment to its “Health & Safety” policies for 2022, which will see Coachella return to Indio Valley from April 15-17 and 22-24, Goldenvoice will now permit unvaccinated individuals to attend the festival, presuming that they can provide proof of a negative COVID-19 test result. Festival organizers detailed the rationale behind the policy adjustment in a statement, writing,

“After seeing first-hand the low transmission data and successful implementation of safety protocols at our festivals recently, alongside the rising vaccination rate of eligible Americans, we feel confident that we can safely update our policy for Coachella that allows for negative COVID-19 test taken within 72 hours of the event OR proof of full vaccination.”

Although the event’s 2022 lineup has yet to be revealed, Coachella co-founder Paul Tollet has confirmed that Rage Against The Machine and Travis Scott, initially scheduled to headline in 2020, have been re-booked for next year. Frank Ocean, the third intended 2020 headliner, will top the festival bill in 2023.

Goldenvoice publicized the revised health policy on both Coachella and Stagecoach’s official websites. Join the waitlist for tickets to Coachella 2022 here.

Featured image: Emma McIntyre

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WE ARE FURY drop new single ‘Talking To Ghosts’ with Nikademis and SOUNDR

WE ARE FURY drop new single ‘Talking To Ghosts’ with Nikademis and SOUNDRPress Dark Wide

WE ARE FURY are back at their melodic best with their new single “Talking To Ghosts” with Nikademis and SOUNDR. After releasing their first single of 2021, a groovy and nostalgic sounding record, “Remember,” which included a full remix pack, the Canadian duo returns to its melodic roots with the sophomore release.

“Talking To Ghosts” came together after the production pair heard a demo from Nikademis on a feedback stream on YouTube. Of the single, WE ARE FURY had the following to say: “Nikademis is really sick, and SOUNDR has been killing it lately both with features and her own project, it was awesome to be able to work with them.”

This is the second song that WE ARE FURY have released since going independent, and if their first two singles are any indication, listeners should know that the newest iteration of WE ARE FURY music doesn’t miss a beat.

WE ARE FURY continue to build on the momentum that they harnessed with their breakout debut album, Duality, released in the summer of 2020. Nikademis meanwhile follows three previous 2021 singles with “Talking To Ghosts,” a one-off that succeeds SOUNDR’s five previous releases this year, including “Homesick” alongside MitiS. Listen to “Talking To Ghosts” below.

Featured image: prmkhtr/Instagram

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Pegboard Nerds and More Plastic take listeners for ‘The Ride’ of their lives

Pegboard Nerds and More Plastic take listeners for ‘The Ride’ of their livesPegboard Nerds

Pegboard Nerds and More Plastic have teamed up for a thriller of a new single, “The Ride,” out now via Monstercat. Featuring old-school sounds that rile fans up into a cascading beat, “The Ride” seamlessly blends the best of both Pegboard Nerds and More Plastic.

“The Ride” follows Pegboard Nerds and More Plastic’s 2020 collaboration, which led to two singles, “Manifest” and “Together.” Maintaining the energy of their first two collaborations, “The Ride” throws listeners back to early electronic atmospheres while pushing them forward into the modern era.

Featured image: Ajapuya Photography

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Robyn, Smile join forces on ‘Call My Name’

Robyn, Smile join forces on ‘Call My Name’121589341 3195963643865433 3659385082588031894 N 1

Famed pop star Robyn is back with a new single “Call My Name,” set to be released on Swedish duo Smile’s upcoming album Phantom Island. Smile, made up of Joakim Åhlund and Peter Bjorn and John’s Björn Yttling, say “Call My Name” has been in the works for quite some time, but when Robyn came on board with her scintillating vocals, it really “lifted it to another level.” “

Her vocal is just packed with so much emotion” said Åhlund, who had previously collaborated with Robyn on her 2005 self-titled album, as well as 2010’s Body Talk. In a statement, Robyn added that she loved “singing ‘Call My Name’ and it was a true pleasure to record it and rave around in this beautiful song together with Joakim and Björn.”

In other Robyn-related news, this one quite a bit more surprising, her beloved 2010 hit “Dancing On My Own” was the soundtrack to the Boston Red Sox post-game locker room celebration after the team triumphed over the Tampa Bay Rays in the MLB Playoff’s American League Divisional Series. Simply put, Robyn said the viral moment was “Bonkers.” Listen to her new collaboration with Smile below.

Featured image: Robyn/Instagram

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