Superbooth: SOMA Labs shows off microtonal TERRA synthesizer, packed with sensors

SOMA Labs has now revealed the outcome of some of the experiments they’ve been doing with pitch – the new TERRA synthesizer, which we’ll see at Superbooth Berlin next week.

The basic notion here: TERRA is a polyphonic synth with complex pitch capabilities. It’s capable of 125 steps per semitone, all accessed via a keyboard with four sensors assigned to shifting pitch. And it has a big pitch range – up to the full range of a grand piano, they say, with 16 variations of keyboard transposing including +/- 3 octaves, fifth, fourth, third, tone, etc.


  • 12-note sensors with velocity and pressure (and so you can use pressure to adjust attack and vibrato)
  • 4 “dynamic” sensors for timbre control
  • 4 pitch-shifting sensors
  • 2 hold sensors
  • 3-axis motion sensor
  • 32 digital synthesis algorithms
  • Built-in FX processor
  • Preset save and recall (96 slots)
  • 6-LED “sensor triangle” in the center for some… esoteric display-free interfacing, evidently

And all of that is housed in a solid piece of wood.

They’ve also produced this very out-there “demo” video, which appears to involve tribal space aliens? Don’t know. I’ll wait to hear this one in person. Vlad Kleimer and team have produced some truly incredible designs, and I’m very curious to see their take on digital, microtuning, and control here.

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There’s also a Gesprächskonzert with SOMA featuring a presentation by Vlad Kreimer himself:

Availability “expected” 2022-2023, with various details and a waitlist (but no pricing specifics yet) on their site:

One thing that has me puzzled, and which I’ll ask them about – they say it’s a digital synth with “an analog part that makes it sound rich, natural, clear and powerful at the same time.” And I have no idea what they mean – an analog filter? Output stage? What? Expect that can be answered, even from folks as mysterious as SOMA Labs.

I should also note, SOMA Labs is a company with operations located between the European Union (including Poland and Křečovice in Czechia) and the Russian Federation. A significant part of their development and production team has been based inside Russia. They have expanded operation recently into SOMA USA in Santa Barbara, with some familiar names associated – Kevin Flynn, Cari Flynn, Nick Montoya, Annie Montoya, Noah Jolly, and Harrison Street.

I’m sure all Russian manufacturers will face questions about the war. Some manufacturers I’ve talked to have made explicit statements (uh, sometimes with expletives, too) and are even moving manufacturing operations and themselves, in some cases out of the country. That has included at least some artists and individuals making those statements in apparent violation of current Russian law.

SOMA is unique in that they did already have a split operation, but I’m sure they’ll be fielding these issues next week given they’ve made their Russian and Soviet engineering heritage part of the marketing of the product. There’s no space to get into those questions here, but I’m sure there will be an opportunity elsewhere.

See all of you in Berlin next week.

Premiere: DJ Sliink & Zak Leever deliver club meets big-room banger  ‘Let Me Go’

Premiere: DJ Sliink & Zak Leever deliver club meets big-room banger  ‘Let Me Go’Sliink Let Me Go

Long-time collaborators and label mates DJ Sliink & Zak Leever do it all for the culture on their latest emotive club cut “Let Me Go.” A follow up to their 2018 collaboration “Never Stop” the prolific pair leave it all on the dance floor on this one. DJ Sliink continues to bring the genre that he’s made popular over the years to a wider audience, lending his signature chops to amplify Zak’s anthemic top line. The result? Another club-ready stunner from one of the genre’s undisputed pioneers.

“I would describe this record as me exploring and being me. I’ve always been one to jump outside of the box, all while staying true to the music I love. I’m exploring how far club music can go, and how many genres and sub-genres it can impact, influence, and expand.” – Dj Sliink

The post Premiere: DJ Sliink & Zak Leever deliver club meets big-room banger  ‘Let Me Go’ appeared first on Dancing Astronaut.

Oberheim OB-X8 Synthesizer Goes Far Beyond The Capabilities Of Its Iconic Predecessors

Ahead of Superbooth 2022, photos and specifications have leaked for the Oberheim OB-X8 synthesizer.

The Oberheim OB-X8 is a new synth design, in the same family as classic synths like the OB-X, OB-Xa and OB-8. It’s an 8-voice analog design, with discrete SEM/OB-X VCOs, Curtis filters and envelopes based on the originals. It offers 400-plus factory programs, including the full set of factory sounds for the OB-X, OB-SX, OB-Xa, and OB-8.

But the OB-X8 also goes far beyond the capabilities of its iconic predecessors, featuring new filter options, the ability to dial in ‘Vintage’ variability, velocity sensitivity and aftertouch, new synthesis and modulation options and more.

Oberheim OB-X8 Specifications (Unofficial):

  • 8-voice, pure-analog polyphony with sine, saw, square, triangle, and noise
  • Two discrete SEM/OB-X-lineage VCOs per voice deliver classic punchy Oberheim tone
  • Discrete SEM-lineage VCFs deliver authentic OB-X-style tone and presence
  • Genuine Curtis filters add bold OB-Xa/OB-8 character
  • Meticulously modeled envelope responses match each OB model: OB-X, OB-Xa, and OB-8
  • The 61-key FATAR velocity- and touch-sensitive keyboard allows unparalleled expression and responsiveness
  • Bi-timbral capability allows two presets simultaneously for splits and doubles
  • 400-plus factory programs, including the full set of factory sounds for the OB-X, OB-SX, OB-Xa, and OB-8
  • Integral, fanless, heatsink-free power supply
  • Real walnut end cheeks
  • High-resolution OLED display enables patch management and easy access to advanced features
  • Classic Oberheim Pitch and Mod levers allow expressive note bending, vibrato, and access to arpeggiator functions


  • Additional SEM Filter modes add high-pass, band-pass, and notch functions to the classic OB-X filter
  • Vintage knob allows variable amounts of voice-to-voice variability to emulate the behavior of vintage instruments
  • Velocity sensitivity adds expressiveness to volume and filter
  • Channel Aftertouch adds real-time performance-based modulation
  • Enhanced unison allows variable voice stacking from 1-8 voices
  • Variable triangle wave cross-modulation
  • Over 600 user-programmable preset locations
  • Programmable per-voice pan allows wider stereo presence
  • Variable oscillator and noise levels

Ins & Outs:

  • Stereo and Mono outputs
  • Volume, Sustain, and Filter inputs
  • Arpeggiator clock input
  • MIDI In, Out, Thru
  • USB

Pricing and Availability:

Official details are still to be announced, but the Oberheim OB-X8 is expected to be priced around $5,000 USD and have a June 2022 release date.

Could the Oberheim OB-X8 the greatest synthesizer Tom Oberheim has ever designed? Check out the details and share your thoughts in the comments!

via 99musik,, modwiggler

Celemony Melodyne 5.2 Now Native On Apple M1 Processors

Celemony Software has announced that Celemony Melodyne 5.2 now supports both Intel chips and the new M1 processors on Apple computers.

This applies to all editions of Melodyne, whether in stand-alone mode or as a plug-in – also via ARA – in almost all compatible DAWs.

Melodyne 5.2 also contains numerous improvements and bug fixes for macOS and Windows and for operation in all DAWs. Celemony recommends the update to all users.

  • ARA: Improvements in the playback functions, selection, cache management and blob monitoring.
  • Operation: Minor improvements in the scale functions, optimizations and bug fixes in all areas of the user interface.
  • Compatibility: Optimized operation in all DAWs, correct assignment of file name extensions under Windows.

Pricing and Availability:

Melodyne 5.2 is available now as a free update to all users of Melodyne 5.

Premiere: Phil Kieran ‘Troy Theme’

Phil Kieran has produced the soundtrack to a new crime thriller film, Nightride. Listen to the track, ‘Troy Theme’ below. 

The Northern Irish techno stalwart sculpts a suitably tense and adrenaline-filled score for the one-shot flick, which follows a small-time Belfast criminal as he attempts to carry out one final job before leaving that world behind him. Kieran’s propulsive soundtrack captures the pulse-racing energy at the heart of the film, from the shadowy streetlight ambience of ‘The Thief’ to the climactic techno stomp of ‘World War Four (Part 2)’  and ‘Hells Bells’. As protagonist Budge’s night accelerates to a heart-in-mouth peak, Kieran’s tracks push the drama forward. 

Speaking about his debut film score, Kieran said: ‘It’s a natural transition, DJing involves giving shape and a voice to a night, creating continuum and momentum. The best DJs bring people on a journey, curating emotions. We create atmospheres; sometimes hypnotic or transcendent, other times it’s chaotic or euphoric. They’re both forms of storytelling. When I’m DJing I love playing longer sets, they have room for a narrative to play out’.

‘Troy Theme’ lands at the centre the soundtrack release, with a marching techno beat, throbbing bass and an eerie synth lead. Like much of the score, it’s a track that will work just as well on a dark dancefloor as it does in the context of the film. Check it out below. 

‘Nightride Soundtrack’ will be released tomorrow 6th May. You buy it through Phil Kieran’s Bandcamp. Watch Nightride on Netflix.

Tribal Brothers announce new EP, ‘Formation’, on Livity Sound

Tribal Brothers have announced a new EP on Livity Sound, ‘Formation’, which is set to land in stores on 27th May. 

The release marks a return to the celebrated UK imprint for the London club veterans, AKA Renk Groove Recordings founders LR Groove and Razzlerman, following last year’s DJ Polo collaboration. Musically, the outing packs four tracks of suitably percussive, tense, high energy bass music, with strong nods to UK Funky, a style both producers have historic ties to.

Noises that conjure images of harder-edged rave soundsystem culture also make an appearance, with an international flavour more than audible, too — elements of Afro house are evident, while the duo namecheck a number of artists from South Africa’s wildly successful amapiano scene as influences. Specifically, Virgo Deep, Felo Le Tee, and Kabza De Small.  

The result, as Tribal Brothers put it, is a combination of “hard-hitting basslines, complex drum patterns, and African chants”. The first tune to be taken from the package, ‘Formation’, has already dropped, while ‘Genesis’, last on the track list, will be unveiled on 17th May ahead of the full release.

Revisit DJ Mag’s long read on Livity Sound, ‘A Decade of Daring Club Music’. 

Tirzah shares new single, ‘Ribs’: Listen

Tirzah Live Dates Summer 2022

21st May – Corona Capital Festival, Guadalajara, Mexico  
23rd May – Constellation Room, Santa Ana, CA  
24th May – Belasco, Los Angeles, CA  
25th May – August Hall, San Francisco, CA  
27th May – Brooklyn Steel, Brooklyn, NY  
28th May – The Fillmore, Silver Spring, MD  

18th June – Electric Brixton, London 
21st June – Fiddlers, Bristol 
22nd June – SWG3 Studio Warehouse, Glasgow 
23rd June – The Stoller Hall, Manchester 
24th June – The Button Factory, Dublin  

5th July – Bitterzoet, Amsterdam  
6th July – Berghain, Berlin  
7th July – Café de la Danse, Paris 

Moor Mother and DJ Haram share video for new 700 Bliss single, ‘Bless Grips’: Listen

Moor Mother and DJ Haram have released a new single under their joint 700 Bliss moniker, ‘Bless Grips’. Check it out, along with its accompanying video, below. 

The track is taken from the forthcoming 700 Bliss album, ‘Nothing to Declare’, which spans hip-hop, jazz, club music and punk and is scheduled to land via Hyperdub on 27th May. 

Discwoman affiliate and Rage Radio host DJ Haram met vocalist and musician Moor Mother in Philadelphia’s underground arts and music scene, where both artists are currently based. The pair subsequently decided to work together on a project. 

Prior to this collaboration, Moor Mother worked on ‘Fire‘, The Bug’s first album in seven years, and has also shared credits with Armand Hammer, Billy Woods, Show Me The Body, Pink Siifu, and Sons of Kemet. Her solo output includes the critically acclaimed albums ‘Fetish Bones’, ‘Analog Fluids of Sonic Black Holes‘, and ‘Black Encyclopaedia of the Air‘, alongside the 2020 LP and four-part play ‘Circuit City‘, which focused on the experiences of discrimination — including racial, gender, and ability — of tenants in a fictitious metropolis. 

Watch the video for ‘Bless Grips’, directed by Izzy Campo, below.

Armin van Buuren announces six Ibiza shows at Ushuaïa and Hï

Armin van Buuren has announced six Ibiza shows, with four at Ushuaïa and two set for Hï Ibiza. 

The Dutch trance legend will begin the string of dates with performances on the iconic Ushuaïa poolside stage, first on Thursday 9th June and again on Sunday 26th June. He will then play twice at sister club venue Hï Ibiza on Monday 22nd August, returning a week later, Monday 29th August. A final pair of dates then see him return to Ushuaïa on Sunday 18th and Sunday 25th September.

Art of Trance head, Grammy-nominated DJ and five-time winner of DJ Mag’s Top 100 DJs poll who last year celebrated an incredible 20 years in the top five, van Buuren has made the announcement in the wake of his hit single ‘Come Around Again’ dropping, which features Northern Irish singer-songwriter JC Stewart and London duo Billen Ted. Look back on 10 moments that defined Armin Van Buuren, then revisit the top 1000 trance tracks he selected for the 1000th episode of his A State of Trance radio show.  

Grandmaster Flash and The Furious Five’s Kidd Creole sentenced to 16 years in prison for manslaughter

Grandmaster Flash & The Furious Five’s Kidd Creole has received a 16 year prison sentence for stabbing a homeless man, John Jolly, twice in the chest with a steak knife on a New York City street. The victim later died in hospital.

The rapper, real name Nathaniel Glover, 62, was found guilty of manslaughter last month. Prosecutors working on the case accused the defendant of committing a hate crime due to the content of a videotaped interview with police recorded while in custody. 

“To tell the truth, I thought he was gay. And because I thought he was gay, and he was saying that to me, ‘What’s up,’ I was thinking that he was thinking [that] I was gay,” Glover said while under interrogation.

“So I was a little annoyed by that. He approached me. I got a little nervous,” Glover claimed. “So then I tried to back up a little bit, and he moved forward, and then I just took the knife and stabbed him … I wish I never would have seen him. It’s all my fault, because I chose to stab him. I have to take responsibility for that,” he continued. 

Glover has insisted his actions were purely self-defence, with his lawyer asking the jury “who’s saying ‘What’s Up?’ to you with good intentions?” in New York City at midnight. Assistant District Attorney Mark Dahl responded by suggesting “simply running away” would have been a better reaction to the situation, which unfolded in 2017