Dreadbox Intros 200 € Dysmetria Analog Groove Synthesizer

Dreadbox has introduced Dysmetria, an ‘analog groove synthesizer’ that’s now available as a DIY kit.

Dysmetria is a rhythm and bassline maker that can be used standalone or as a Eurorack synth module.

Features:

  • Full Voice Analog Modular Groove Synthesizer
  • Rhythm and Bassline maker
  • It can be used as a Desktop or a Eurorack synthesizer
  • It comes along with a dedicated USB to Eurorack power converter
  • Ideal for inexperienced DIYers
  • 42 HP
  • 2 Analog Oscillators
  • Voltage Controlled Mixer
  • Noise Generator
  • Voltage Controlled FM section
  • 2-pole Resonant Filter with LowPass and BandPass outputs
  • 2 Decay Envelopes
  • 32-step Sequencer with 3 Modes (Play, Live, Rec) and Step by Step Recording
  • 16 User Presets
  • 15 Patch Points

Pricing and Availability

Dysmetria is available now for 200 € (excl. VAT).

EboSuite 2.0 Lets You Treat Video Like Audio In Ableton Live

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Superboth 2022: The developers of EboSuite, a collection of video plug-ins for Ableton Live, have introduced EboSuite 2.0 – a major update that adds live video recording, which opens up new ways of performing and working with video live.

Since EboSuite was introduced, the developers have also expanded the number of plugins it offers from 6 to 54. They describe the collection a “the most advanced software to generate, play, manipulate and mix visuals in Ableton Live.”

“If you know Ableton Live, you know EboSuite,” they say. “It’s that simple.”

Features:

  • Treat video like audio
    • Play video in Session View.
    • Edit video clips using Warp Markers, Loop, Start/End etc.
    • Use Live’s audio mixer as a video mixer with blend modes
    • Mix video using Live’s crossfader with visual crossfade effects
    • Position, scale and rotate video tracks to make a visual arrangement
  • Get creative with video
    • Trigger video live or with MIDI clips
    • Pitch and tune video with different tuning modes
    • Simulate video scratch
    • Realtime time-stretching
    • Slicing, Velocity to opacity, audiovisual ADSR
    • One-shot, Loop, PreRoll, and more …
    • Fully automatable
  • Create your own visuals
    • ISF support, more than 1500 ISF effects and generators available for virtually unlimited visual possibilities
    • 34 image control, utility effects, and creative distortion effects incl. Luma/Chroma key, Mask, Blur
    • Organize effects in groups
    • Parameter smoothing
    • Easy to combine with Live’s audio effects, fully automatable
  • Other features:
    • Connect multiple webcams or iPhone and iPad cameras
    • Support for many video codecs (HAP, H264, MPEG4, PJPG, etc.)
    • Convert video to the HAP video codec within Live
    • Support for grouping, racks, linking
    • Create polyscopic compositions
    • Compile MIDI clips to a movie file within Live

Pricing and Availability

EboSuite 2.0 is available now for MacOS for 159.00.

Tiptop Audio + Buchla Sequential Voltage Source, Dual Voltage Processor Coming This Summer In Eurorack Format

At Superbooth 2022, Tiptop Audio is previewing the next modules in its official line of Buchla 200 Series Eurorack modules.

The first batch of the 245t Sequential Voltage Source and 257t Dual Voltage Processor, above, are in production and are expected to ship this Summer. Both are Eurorack translations of classic Buchla 200 Series modules from ’70s.

Tiptop Audio also shared an update on their version of the 292 Quad Lo Pass Gate, which will feature handmade vactrols that they say will “satisfy the ears of the most die-hard Buchla bongo fans”, adding “Users will be able to build out their 200t systems with the classic Buchla signal chain.”

In addition to the Tiptop Audio & Buchla news, Tiptop announced that they are introducing an all-black Mantis Eurorack case.

The new black Mantis is identical in specs and price to the original. This case is made with black ABS with an overcoating to ensure a homogenous shade in various light conditions.

The first batch of black Mantis is limited and will be available very soon with additional quantities that should be ready toward the end of Summer. The gray Mantis will also be available again, and they plan to have them shipping in large quantities in the coming months.

Finally, Tiptop Audio has added black faceplates for the following modules: Miso, Forbidden Planet, Z8000, Z2040, Mix7. The black Z8000 is now released and the others will be sent to retailers in the coming weeks.

See the Tiptop site for more info.

ILLENIUM converts Ultra ID to official release—stream ‘Shivering’ featuring Spiritbox

ILLENIUM converts Ultra ID to official release—stream ‘Shivering’ featuring SpiritboxUmf22b 142

On March 26, ILLENIUM played Ultra Music Festival‘s main stage for the very first time—and he made sure to make it count. Throughout the action-packed 68-minute set, Dancing Astronaut’s 2021 Artist of the Year played out hits like “Crawl Outta Love,” newly minted mashups like “Calling” vs “Beautiful Creatures,” and brought out special guests like Tori Kelly for “Blame Myself” and Jon Bellion for an emotional live rendition of “Good Things Fall Apart.” He also debuted two brand new IDs. One of them, “Shivering” featuring Spiritbox, has now landed.

“Shivering,” which ILLENIUM originally teased during his secret ID-only set at Ember Shores, feels like a relative to previous ILLENIUM releases like “Feel Something” with Excision and “Story Of My Life” on account of its heavy trappings. The single manages to maintain the beautiful elements of melodic bass while crossing them with metal-like drums and guitar chords. On top of it all, Canadian heavy metal band Spiritbox supply the song’s chilling vocals, adding a layer of impact to a number that expertly transitions from melodic into heavy and back again.

“Shivering” follows ILLENIUM’s unexpected remix of Nirvana’s “Something In The Way,” debuted to celebrate a Batman collaboration with Electric Family for an exclusive merchandise drop. Stream “Shivering” featuring Spiritbox below.

Featured image: Rukes

The post ILLENIUM converts Ultra ID to official release—stream ‘Shivering’ featuring Spiritbox appeared first on Dancing Astronaut.

New Polyend Play A ‘Sample & MIDI-Based Groovebox’

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Polyend has introduced Play, described as “the most fun sample- and MIDI-based groovebox ever”.

Play features 8 audio tracks and 8 polyphonic MIDI tracks, 30 kits to get started with, over 3,000 samples and a workflow that’s designed to be inspiring and simple.

Features:

  • Compact standalone workstation, designed to have immediacy and simplicity at its core
  • 8 audio tracks and 8 polyphonic MIDI tracks
  • 30,000 track variations available, thanks to 128 Patterns holding 16 tracks, with up to 16 variations in each individual track.
  • Track Length ranges from one to 64 steps, while each track can also benefit from different BPM-related Tempo, and even Swing values, as well as various types of playback.
  • Control external synths and drum machines on individual tracks, with the ability to output a separate set of MIDI values per track.
  • Flexible MIDI CC mapping per track for its individual rotary knobs, so users can connect an external controller for MIDI note input. It is possible to output chords, arpeggios, program and bank changes, pitch bend, clock, and more.
  • 16×8 step sequencing grid
  • Algorithmic or percentage-based probability
  • Randomize
  • Step Repeater (capable of making short stutters, pitch effects, volume fades, and more).
  • Smart Fill tool
  • Simple Select, Copy, and Paste controls make moving data — steps, tracks, track pages, variations — easy.
  • Scale filtering to force Play to input and output only notes that fit the selected scale.
  • Play’s Perform mode makes non-destructive changes to tracks via performance effects, including Filter Cutoff, Resonance, Microtune, Overdrive, and more.
  • Master FX, including delay, limiter, reverb, saturator, and sound enhancer
  • Live record automation (using the onscreen Live Rec button) or change individual step values on the fly
  • Record monophonic or polyphonic MIDI data (using the Note knob, the View controller function, or an external controller).
  • Customizable chaining of Patterns permit mapping out entire sequences anywhere on the grid for live performance,.
  • Save and Reset patterns

Pricing and Availabilty

The Polyend Play is available to preorder, priced at of €799.00 EUR/$799.00 USD.

Drambo Modular Groovebox Gets Free Major Update To Version 2.0

BeepStreet has released version 2.0 Drambo, a major free update to the modular groovebox for iOS.

Version 2.0 features UI/Workflow refinements, a full-blown clip launcher and piano roll, additional modules, parameter automation recording, clip p-locks and more.

Here’s what’s new in Drambo 2.0:

  • Major Features:
    • Redesigned user interface and improved workflow
    • Song arranger / clip launcher
    • Parameter automation recording
    • Advanced curve editor / designer with cubic Bezier curves and various drawing tools
    • Piano roll and 7 detailed step sequence editors, auto-advance step recording mode (rest/tie style)
    • Sequence navigation bar with loopable sections per clip
    • Custom clip length and speed, clip p-lock, auto-grow recording
    • Stems recording
    • Customizable on-screen keyboard with scales
  • Other Changes:
    • Maximum polyphony increased to 16 voices
    • Drag’n’drop samples, clips and patterns
    • Clip lock – lock parameters on a clip
    • Library window search
    • File manager
    • Overlay layer: Audio Units may be shown as floating / resizable windows
    • One of many step component – picks one note from a chord randomly
    • Controls can be hidden in a folded rack
    • Morph module – morph or modulate multiple parameters in the rack
    • Wavetable oscillator module: Wave effect module: new modes, Wave motion module, Wave vocoder module
    • Gate declicker module
    • PC generator module
    • MIDI strum generator module
    • Buttons module
    • FDN module – advanced feedback delay network
    • MIDI learn: you may assign the same CC to multiple targets

Here’s a full walkthrough from Ben Richards:

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Pricing and Availability

BeepStreet Drambo v2.0 is available now for $19.99.

via Juan

Behringer Model 15, The ‘Boog Grandmother’, First Look

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Behringer today shared a sneak preview and audio demo for their upcoming Model-15 semi-modular Eurorack synthesizer.

The Behringer Model 15 copies the design of the Moog Grandmother and translates it into Eurorack format.

The Model 15 features dual oscillators with 4 waveforms, oscillator sync, pulse-width modulation and a sub-oscillator. Other features include a step sequencer, allowing for 3 separate, 256-step memory slots, key transpose and multiple playback modes.

The synth also features a spring reverb emulation, 48 points for modular connectivity, integration with external equipment and 37 controls for real-time access to key parameters.

Pricing and Availability

No release date for the Behringer Model 15 has been announced. The company says that, “As soon as we receive the chips required to put this into production, MODEL-15 will ship immediately.” Pricing is expected to be about $329 USD.

MIDI Polyphonic Expression (MPE) Specification Updated To Accelerate Adoption

The MIDI Association has released MPE v1.1, an update to the MIDI Polyphonic Expression (MPE) (v1.0, January 2018) specification that’s designed to help accelerate adoption.

MPE is a MIDI standard that’s designed to support per-note expressive control, with up to three dimensions of expression.

Without MPE, expressive gestures, like pitch bend and the mod wheel, control all notes similarly. With MPE, every note a musician plays can be articulated individually, for much greater expressiveness.

In March of 2021, the MIDI Association’s MPE Working Group met to evaluate the current MPE specification and create an editorial revision. The Working Group revised the MPE v1.0 specification, with the goal of making it clearer and easier to adopt.

Here’s what they have to say about the update:

“No technical design changes were made while every point of confusion or misinterpretation we’ve encountered over the past few years has been addressed. All the implementation rules are now gathered together into section 2, Detailed Specification.

Further, the best practices and appendices have been elaborated to provide greater detail and examples.”

The next step for the MPE Subcommittee is to create a MIDI 2.0 MIDI-CI Profile for MPE, taking advantage of MIDI-CI to enable auto-configuration between MPE senders and receivers, with a goal to complete this work in 2022.

The members of the MPE Working Group include:

  • Gregory Pat Scandalis – moForte Inc
  • Athan Billias – MIDI Association-President/ MIDI2Marketing LLC
  • Mike Kent – AmeNote Inc
  • Geert Bevin – Moog Music Inc
  • Eric Bateman – Keith McMillan Instruments
  • Andrew Mee – Yamaha Consultant
  • Jonathan Keller – Zivix

The working group also consulted with a variety of other hardware manufacturers, plugin developers and DAW vendors to make sure their input was reflected into the updated specification.

The new specification is available for download on the MIDI.org website.

via Geert Bevin

Trivecta maps out ‘The Way Back Up’ on Ophelia Records-backed debut album [Interview]

Trivecta maps out ‘The Way Back Up’ on Ophelia Records-backed debut album [Interview]278959486 514555540322026 700909875803729056 N

It’s been a little over eight years since Trivecta released his debut single, “One Night Only.” In the time since, he’s released hit singles like 2017’s “Shatterpoint,” remixed tracks for ILLENIUM and Dabin, and collaborated with artists like Seven Lions and Excision. But just as his career seemed to be hitting full stride, the COVID-19 quarantines sidelined him. For Trivecta, this wasn’t a setback, but rather, an opportunity.

The pandemic-related lockdowns proved a reset for many inside and outside of the music industry. The world’s metaphorical snow globe had been shaken, and all one could do was best position themself for when the snow finally settled—whenever that would be. What that looked like was different for everyone; for him, though, it entailed an album.

“I didn’t actually go into it thinking, ‘hey, I’m making an album,’” he recalled. “I was just kind of like sitting around in the studio and sketching little bits of DNA, even just 15-second clips of little ideas.” From there, The Way Back Up was born.

“Going into 2020, I was probably only about a year-and-a-half into playing shows. I had been mostly releasing music on the internet for the first five years or so of my career, so when everything went back to the internet for the pandemic, I was like, ‘man, everybody’s back on my playing field.’ So it was kind of like, ‘all right, let’s make use of this thing.’ So I was trying to engage with the fans, but also write a lot of music. That’s where the album came from,” Trivecta told Dancing Astronaut.

Trivecta maps out ‘The Way Back Up’ on Ophelia Records-backed debut album [Interview]274045587 770785517230080 6557248265952696548 N
Featured image: Drue Pines

His debut LP touches on a multitude of different styles and genres. There’s the melodic bass that he came up on, progressive house, psytrance, “folk bass,” as he calls it, and even some dark techno. This eclecticism came from “just wanting to try different things creatively,” he says. The choice to do so was a natural but also a very purposeful one. By doing so, he wanted to sidestep what would have been easy: crafting an album entirely made up of melodic bass.

“When I zoomed out and took a look at the overall framework of the album, that’s where I was like, all right, it doesn’t really feel like the way forward right now to make an album that’s just a bunch of melodic bass tracks. That didn’t feel cool. It didn’t feel creative. It doesn’t feel forward-thinking. It felt a lot cooler to me to ground the album in that, because obviously that’s what I’m known for and that’s where a lot of my heart is, but also to try and find ways to try new things in there to make things feel fresh,” Trivecta explained.

Indeed, the full body of work feels just that.

“That was a really important thing to me while making this,” Trivecta added. “It’s got to feel fresh. Things have definitely gotten a bit stagnant in a lot of genres of EDM.”

The effort to evade stagnation was “scary at times,” because he didn’t want to exclude the members of his audience who’d come to know him from his melodic bass productions:

“I also didn’t want to put out an album where these fans go, ‘oh, what’s he doing here? Like what is all this? Where’s the guy I’ve come to know and love?’ It was definitely a challenge, making sure to balance all that. But I think it came out covering all those bases, and checking all those boxes.”

One of the bigger risks that Trivecta took was creating what might be an entirely new genre, “folk bass.” It can be heard loud and clear on tracks like “Sail Away” featuring Jay Mason.

“In the beginning of the pandemic, I was just really inspired by a lot of non-EDM kind of music, like indie-folk kind of stuff” he said. This led Trivecta to take inspiration from artists like Hayden Calnin out of Australia, and folk duo Amistat, who feature on “Silence.” When asked what prompted him to pursue such an unconventional union of genres, he elaborated,

“It came from a frustration with how similar everything was sounding, and that frustration pushed me to really embrace what I was listening to. That bit of inspiration combined with a good bit of bravery pushed me to start looking forward and thinking, ‘how am I gonna start paving a path that doesn’t exist?’ It takes a long time to get the hang of making something like bass music, but once you really start to get the hang of it, eventually it’s like, ‘congratulations, you sound like two or three of the biggest artists in a lot of ways.’ You’re not going to do what they do any better than them, so now what are you going to do? It’s easier to mimic what other guys are doing, but the challenge is to ask how do you take what it is that you’re inspired by and find ways to combine that with what it is that you’re already doing?”

However expectedly or unexpectedly, this sonic collision of folk and bass works. It’s a testament to the level of pride that Trivecta takes in what he does, his passion for both genres of music, and his will to venture beyond what’s both customary and popular.

While tracks like “Open Road” and “Back To The Start” give shape to what this “folk bass” style sounds like, others have elements of other genres. “Horizon Lines,” for instance, has trappings of drum ‘n’ bass while “The Gallows” features dark techno. And of course, there’s gestures to his signature melodic bass sound throughout.

“Empty Oceans” featuring Matluck is one ofThe Way Back Home‘s standout inclusions—and Trivecta knows it. “This is going to be the big one,” he said of the song in an Instagram post. And although an album isn’t defined by one song, the progressive house anthem has already been a high point of his live shows in the run up to its official release.

“It’s hard to know sometimes because you begin to hate everything you’re working on by the time you’re done. And then, as time passes, you learn to love it again when you start sharing it with people and experiencing it live with a crowd,” Trivecta said when asked how and when he knows that a track is a “big one.” “For example,” he elaborated, “with ‘Empty Oceans,’ I was sick of it by the time I was done working on it. But I remembered what it felt like to get goosebumps working on that first section and building it out. So it’s hard to know. It was hard to know with that one if it was going to be something where people are going to be like, oh, well, this is more basic, more traditional and it doesn’t really take enough risks. But the average consumer isn’t thinking about that kind of thing. It’s more that as I’ve been sharing the album with people and getting a sense for how people respond to it, I’ve realized that, yeah, this feels like ‘it.’”

Fittingly, Trivecta’s album comes out on the imprint that he’s become so synonymous with, Dancing Astronaut‘s 2021 Label of the Year, Ophelia Records. He’s been on the label since his iconic melodic-dubstep collaboration—”Island” with Seven Lions and Wooli featuring Nevve— came out in 2019. Since then, he’s been a staple of Ophelia’s artist roster, both through releases and live shows, including the label’s Pantheon tour and various showcases. Working with Ophelia has been an “absolute dream” says Trivecta, who adds, “I’ve felt nothing but at home with this label and with these people, they’ve become not only my best friends in music, but some of my best friends in the world.”

Outside of Seven Lions, there is perhaps no artist on Ophelia who has helped to propel the label since its infancy more than Trivecta himself. And Ophelia has had a profound impact on him, as well. Part of the reason that he was able to take so many risks on The Way Back Up is because he “feels so creatively empowered,” “like [he] can do what [he] want[s] and feel[s] encouraged to do that,” on Ophelia without having to “make music that fits in in a certain bubble.” When asked specifically about the impact that Seven Lions has had on his career, Trivecta reflected,

“Jeff [Seven Lions] is a great person to work alongside whether it’s working on a collaboration or doing something on my own like the album. He’s like LeBron James; he can like lift you up creatively without trying to because he puts so much work into what he does and because he is so good at what he does. It inspires people around him to want to do the same and push themselves to the next level.”

When talking about the aforementioned Pantheon tour that Trivecta embarked on with Seven Lions and others in 2021, he recalled just how “open-minded” Ophelia’s fan base is: “I feel like I can get away with so much because there’s so much music that comes out on the label.” But with the Pantheon tour in the rearview, and his debut album in the foreground, Trivecta has set his sights on something else: his first-ever headlining tour.

The Way Back Up tour has stops in Los Angeles, New York, and his hometown of Tampa, to name just a few. Putting on a headlining tour in tandem with his debut album has been “one of the most challenging things” he’s ever done, but by his own admission, he’s “definitely up for the challenge.” “I’m really looking forward to being able to set my own rules for the shows and make my own show, and it’s exciting to have a fan base that is pretty much just there for me,” he says. To him, this means that he “can take more risks” and doesn’t have “to worry about appeasing people who might be there for other reasons.”

As far as working on his guitar skills goes? The guitar aspect of his shows will “definitely have some more cool live elements, with different ways of working it in that fans haven’t seen before.” In short, there’s going to be “a lot of new creative guitar moments,” he says.

When asked about his rockstar-like ability to command a crowd with his stage presence, especially with a guitar in his hands, Trivecta said he’ll always credit Cam, ILLENIUM’s sound guy, for yelling at him from the front of the house while he on tour with ILLENIUM in 2018. “He was like, ‘Sam, you’ve got to move your body up there. You can’t just stand still like a statue playing the thing,’” Trivecta said. Although weaving the guitar into his sets was a learning curve at first, over time, he’s gotten more comfortable with it. It shows, and it will continue to, city across city, as Trivecta puts shoes to pavement for a career benchmark: The Way Back Up‘s supporting tour.

Trivecta’s debut album is now streaming everywhere, courtesy of Ophelia Records. A complete list of The Way Back Up tour dates and ticket information is available here.

This interview has been edited for clarity and readability.

Featured image: Klick

The post Trivecta maps out ‘The Way Back Up’ on Ophelia Records-backed debut album [Interview] appeared first on Dancing Astronaut.

IK Multimedia Releases Limited-Edition UNO Synth Pro Black Edition


IK Multimedia has released the UNO Synth Pro Black Edition.

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UNO Synth Pro was released last year, and expanded on the original UNO Synth design. UNO Synth Pro features three wave-morphing oscillators, dual filters with 24 modes, deep modulation options, 3 effects slots with 12 effects, a sequencer with automation of 80+ parameters and MIDI/CV/Gate connectivity.

This special black edition has been produced in a limited run of 500.

UNO Synth Pro Black Edition features:

  • 3 discrete oscillators plus noise generator
  • Pulse-width modulation and hard sync
  • Continuously variable wave shape
  • FM and ring modulation
  • Dual state variable filters with 24 modes
  • Series and parallel configuration
  • 16-slot modulation matrix
  • Free Mac/PC Editor to integrate with DAWs
  • 2 x CV / Gate input & output
  • 5-pin and USB MIDI I/O
  • Audio input to filters, FX, or pass-through
  • Balanced stereo & headphone outs
  • 256 user-editable presets
  • 10-mode onboard arpeggiator
  • 64-step sequencer with 40+ parameters
  • CV/Gate automation

In addition, the UNO Synth Pro Editor helps the user create classic or new sounds, and free artist preset packs are also available at UNO Sounds.

Pricing and availability. UNO Synth Pro Black Edition is available from the IK Multimedia online store and from IK authorized dealers worldwide at a “special price” of $/€349.99 (reg. $/€399.99).  Additional information is available on the IK Multimedia website and additional videos are found here.

An optional USB power bank for UNO Synth Pro Black is available for $/€29.99.**

*All pricing excluding taxes
**Check availability for your territory