BEAT.

DE SKILLS & SOFTWARE FOR PRODUCERS & DJAYS

03-2021

#182 / 03-2021
INTERFACE FINDER GEAR FÜR DEN PERFEKTEN FLOW TESTS VOCHLEA DUBLER STUDIO KIT PRESONUS ATOM SQ GUITAR RIG 6 VS. AMPLITUBE 5

11 GB
17 GB AUDIO, MIDI & CV

SOFTWARE
DOWNLOAD INTERFACE
FINDER
FULL VERSIONS:
WAVES CODEX*
THE SERUM KILLER!
MICROFREAK
VOCODER
PRODUCE TRACKS FASTER BIG SURPRISE!
R ETROMOD
LOFREQ WIRED*
FILTHBOX À LA MOOG & 0-COAST
GEAR UP YOUR WORKFLOW INTERVIEW
*Online registration required

Z AMPLER & MPC IN THE STUDIO WITH

ÆNIGMA*
3,2 GB CHOIRS & SYNTHS

Full Throttle:
ELA MINUS
7 GB Synths & Sounds

UDO SUPER 6
for Urban, House & Trap

ABLETON THE BETTER JUPITER-6?

OLDSCHOOL HANDS-ON: PSYTRANCE
D  7,49 € AT  8,40 € CH  13,80 CHF LUX  8,80 €

SAMPLING FROM START TO FINISH

REVIEWS APOGEE SYMPHONY DESKTOP | VOCHLEA DUBLER STUDIO KIT | PRESONUS ATOM SQ | GUITAR RIG 6 VS. AMPLITUBE 5
 Engineering
Emmy®
winner

Unrivalled sound
and workflow
An equalizer is probably the tool you use most while mixing and
mastering, so you need the best of the best! With FabFilter Pro-Q 3,
you get the highest possible sound quality and a gorgeous,
innovative interface with unrivalled ease of use.

www.fabfilter.com
 BEATSOFTWARE
12 GB Sounds & Software

GET STARTED

3 SOFTWARE HIGHLIGHTS!

Hot competition for Massive and Serum! SOFTWARE DOWNLOAD:

Waves Codex
Wicked Dubstep basses, screeching leads, shimmering arpeggios, endlessly
evolving pads, as well as impressively animated textures - all this and much
www.bit.ly/BeatDL182
LICENSES & PASSWORDS:
more is possible with Waves Codex. This wavetable synthesizer entices with
a multi-faceted sound generation including WAV import, a user-friendly

www.serialcenter.de
interface and an inspiring arpeggiator. Our software highlight of this month
is a real guarantor for fresh sounds far removed from analog standards.
Download: www.bit.ly/BeatDL182 | License: www.serialcenter.de win | mac

Filthbox à la Moog & 0-Coast 3.2 GB Gregorian Choir and Synth hybrids
Retromod LoFreq Wired
The RetroMod LoFreq Wired plug-in captures the sound of 11 popular
Ænigma for Zampler & MPCs
Pure emotion and ethnic vocal power ... Gregorian chants have without
­analog synthesizers from 2009 to today, including Moog Grandmother, question a mysterious and unique sound; however, since such chants
Dreadbox Erebus V3, Arturia MiniBrute 2, Doepfer Dark Energy II and also quickly sound outdated, we have sampled them by all the rules of
­Analogue Solutions Telemark V2. Look forward to powerful and multi-­ the art, sliced and twisted through the sound grinder. The result are 64
faceted analog sounds that do an excellent job in more than just the low ­production-ready bass, pad and lead hybrids of choir and synthesizer
frequency range! The Activation Code is BEAT2020 sounds that give each track a unique touch.
Download: www.bit.ly/BeatDL182 | Infos: www.tracktion.com win | mac | linux Download: www.bit.ly/BeatDL182 | More Packs: zamplersounds.com win | mac

Beat 03 | 2021  •  3
 BEATSOFTWARE SOFTWARE DOWNLOAD: www.bit.ly/BeatDL182
12 GB Sounds & Software

Beat #182: Exclusive software

12 GB of valuable plug-ins and samples for download
T
his month you can expect a very special software
highlight: the versatile Waves Codex wavetable
synthesizer. Thanks to its multi-faceted sound
generation and intuitive arpeggiator, inspiration is
guaranteed. The RetroMod LoFreq Wired plug-in, on
the other hand, brings the distinctive analog sounds

7 GB:
of modern synthesizers from Moog, Dreadbox, MFB,
Analogue Solutions and Arturia into your DAW. The
thrilling combinations of Gregorian chant and modern
Synths & Sounds
synth sounds await you in the latest soundset for our
for Urban,
Trap & House Zampler//RX plug-in as well as for Akai‘s MPC series.
Finally, sounds and loops for genres such as House,
EDM and Trance, prepared and ready for produc-
tion by Audiovat, Loopmasters, Prime Loops & more,
provide a breath of fresh air in your sample folder.
All sounds are cleared for your use. Please note the
enclosed license terms.
Content compiled by the Beat editorial team.

VIRTUAL GRAND PIANO EPIC REVERB EFFECTS EXPERT

Electronik Soundlab FORT3 Free Edition DSE Giant Verb

With its punchy and brilliant sound, this virtual grand piano is an excellent The name Giant Verb says it all: with this plug-in modeled after analog
choice for Pop, House & the like. By combining the six effect layers, and reverbs, you can create wonderfully dense reverb effects. Thanks to the
with the integrated reverb, expressive variations such as filtered or heavily extensive setting options, even modulated reverb tails are child‘s play with
reverberated piano sounds can be achieved. this resource-saving effect.
Download: www.bit.ly/BeatDL182 | Info: electroniksoundlab.com win | mac Download: www.bit.ly/BeatDL182 win | mac

3.2 GB:
Exclusive Download: The Beat Studio Ænigma for
Zampler & Akai
MPCs

Vember Audio Surge AudioRealism 606 Thorn Solo Zampler//RX DDMF The Strip
Flexible Hybrid synth, ideal Emulation of the cult Roland One of the best and most fle- REX and SFZ Player with Musical channel strip for
for animated sound textures TR-606 drum machine xible monosynths out there! mod-matrix & sequencer Mixing & Mastering

4 • Beat 03 | 2021
 BEATSOFTWARE
12 GB Sounds & Software

VERSATILE MORPHING SYNTH EXCELLENT TAPE ECHO SIMULATION

Monoplugs Monique GSi VariSpeed

Thanks to its clever morphing functions, the Monique synthesizer is a The WEM Copicat IC-400 is one of the most sought-after tape echo devices
specialist for pulsating basses, impressively animated lead sounds, complex in existence. GSi VariSpeed recreates the sound of this legendary device in
textures and wacky effect sounds. detail with fantastic, very lively sonic results!
Download: www.bit.ly/BeatDL182 win | mac | linux Download: www.bit.ly/BeatDL182 win | mac | linux

SONOROUS SYNTH CHAMELEON EXPERIMENTAL LOOP GENERATOR

u-he Zebralette Dynamic Tonality XronoMorph

With a fantastic sound and lush preset offering, Zebralette is an absolute A specialist for the creation of multilayered rhythmic and melodic loops is
must download. The extremely flexible spectral oscillator known from hidden behind XronoMorph. You can control the included samples or any
­Zebra 2 is a secret weapon for lively textures. software and hardware sound generators.
Download: www.bit.ly/BeatDL182 | Info: www.u-he.com win | mac | linux Download: www.bit.ly/BeatDL182 | Info: dynamictonality.com win | mac

MULTI-FACETED SYNTH ROMPLER OUT-OF-THIS-WORLD DRONE-SYNTH

Infected Sounds Rex Luxus Mike Moreno LIRA-8

Contemporary sounds for all types of electronic music await you in Rex LIRA-8 attempts to emulate the signal path and sound of the SOMA Lyra-8
Luxus. The sounds can be manipulated in many ways and provided with analog drone synthesizer. Like its boutique role model, this plug-in can elicit
effects. A Step Sequencer and a Trancegate provide inspiration. wonderfully wacky textures and space sounds.
Download: www.bit.ly/BeatDL182 | Info: www.noizefield.com win Download: www.bit.ly/BeatDL182 win | mac | linux

Beat 03 | 2021  •  5
INBEAT
Contents

Table of Contents
INTERFACE FINDER
Whether you want to record melodies or vocals, record or sample beats, integrate a modular system
or perform live, you can only really get things running smoothly with the right MIDI, audio or CV
­interfaces and controllers. But which ones can do what and, above all, which ones are best suited
to your own workflow? In our big guide, we‘ll introduce you to current devices and their features,
­compare different models, and give you practical tips on how to optimize and perfectly expand
your setup.  Page 16

Standards
003 Beat DVD #182
Full Throttle! Waves Codex, Tracktion
048 Studio Insights: Ela Minus
Ela Minus‘ debut is inspired by the
Top Workshops
RetroMod LoFreq Wired, Ænigma for ­creation of simple human interactions
Zampler & MPCs, Vember Audio Surge, with technology. Danny Turner dissects Free: Waves Codex
Elektronik Soundlab FORT3 Free Edition, her minimalist approach. Hot Competition for M
­ assive
DSE Giant Verb, Monoplugs Monique, and Serum!
GSi VariSpeed, u-he Zebralette, ­Dynamic
090 DJ Interview: Anja Schneider Page 38
Tonality XronoMorph, Mike Moreno
Anja Schneider is one of the most promi-
­LIRA-8, Infected Sounds Rex Luxus, 7 GB
nent spokeswomen for the members of
Synths & Sounds for Urban, Trap & House.
the „Booking United“ association. This Cubase-Tips
organization represents the interests of Livelier MIDI Drums
006 Content DJs and booking agencies who have been Page 41
hit particularly hard by the pandemic.
008 Navigator: Best of Beat #182 In her interview with Tobias Fischer, she
states that the reaction of politics to this
096 Filesharing – Music Tips from the Net problem is a confession of failure. Mix Tricks: FabFilter Workshop
Noisy Beats with Live Distortion
097 ExtraBeat – List of Dealers Page 47
Local Expertise

098 Imprint & Preview

Beat 04 | 2021 will be out on 03.03.2021 Portrait: Fotos
Tom Hessler used his time creatively during

Musik & Technique the first lockdown. Armed with a modular

system, tape echoes and a Farfisa organ,
the singer, guitarist and sound mangler of
010 Magazine – Facts, Interviews, Products the indie band Fotos devised the basics of
the fifth Fotos album “Auf zur ­Illumination“
032 Discovered: Egopusher
in his home studio in Neukölln: An album
The Art of Waiting
that combines electronic music with Kraut
036 Digital Culture: AI and Psychedelic Rock. In the interview, he
Composer Alexander Schubert has told us with great passion about ­modular
­programmed Av3ry, an incomparable ­systems, early morning ­inspiration,
artificial intelligence: The results are ­recording on cassettes and his great
disturbing, dreamlike and strangely
­fascinating at the same time – yet Av3ry ­influence Ariel Pink. ­Page 28
knows absolutely nothing about music.

6 • Beat 03 | 2021
 INBEAT
Contents

Become Friends? Software Download The Latest News:

www.facebook.de/beat.magazin www.bit.ly/BeatDL182 www.beat.de

Review: UDO Audio Super6

Hybrid Synthesizer with Roland g ­ enes:
Super6 is inspired by the classic ­Roland
Jupiter-6, but goes its own sonic way
with a combination of digital oscillators
and an analog filter. Page 77

WorkBeat Review: Arturia V Collection 8

Arturia has expanded its collection of
038 Focus: Waves Codex ­virtual replicas of vintage classics to a
whopping 28 instruments and has also
041 Power Producer: Cubase made sonic improvements. Page 60

042 Power Producer: NI Maschine

059 Review: TAL-J-8
043 Power Producer: Akai MPC
060 Review: Arturia V-Collection 8
044 Power Producer: Ableton Live
062 Review: Guitar Rig 6 vs. Amplitube 5
045 Power Producer: Logic
064 New Effect Plug-ins
046 Power Producer: Studio One
069 New Sounds & Samples
047 Mix Tricks: FabFilter Workshop

066 Zampler Constructor: Downtempo HardBeat

084 Extra Feature: Psytrance Production 072 Desktop Audio

088 OffBeat: Universal Translators 074 Review: Korg opsix

On Stage
077 Review: UDO Super 6
SoftBeat 092 Review: Denon Prime Go
080 Review: Arturia Microfreak Vocoder
056 Latest Freeware 094 Review: Rane Seventy + Twelve MkII
082 Modular Review:
058 New Synth Plug-ins Michigan Synth Works Chronovore 095 Power Producer: Push DJing

Beat 03 | 2021  •  7
INBEAT
Navigator

Navigator: Best of Beat # 182

The common thread: Issue 03/2021
For many years Beat has been inspiring its readers not only with practical and musical topics, but above all with the tight
­integration of editorial content. From the very beginning, Beat has been about creating, about the structured building of ideas
and the common thread - in the magazine as well as in the tracks. This navigator shows you the highlights of this issue and
allows you to see the big picture.

Studio insights: Ela Minus

After studying jazz drums and music synthesis, she found her dream job at instrument manu-
facturer Critter & Guitari. Fed up with the modern approach of using the laptop for recording
and live performance, Ela set out on a mission to bring more simplicity and authenticity back
to electronic music. Their debut album, appropriately titled „Acts Of Rebellion“, embodies Ela‘s
idiosyncratic ideology and intuitive approach to making music that conveys genuine emotional
resonance.  Page 48

Review: Korg opsix

Korg wants to make FM synthesis more accessible to everyone with the opsix; and additional
digital sound generators, as well as filter emulations and step sequencers, complete the concept.
Is this the most accessible FM synthesizer ever?  Page 74

Free: Waves Codex

Wicked Dubstep basses, screeching leads, shimmering arpeggios, endlessly evolving pads, as
well as impressively animated textures - this and even more is possible with Waves Codex. The
­wavetable synthesizer entices with a multifaceted sound generation including WAV import,
­accessible operation and an inspiring arpeggiator. Whether you use the imaginatively designed
presets or create your own sounds from scratch: This software highlight is a guarantor for fresh
sounds far removed from analog standards.  Page 38

Interview: Anja Schneider

DJs and Booking Agencies are particularly hard hit by the pandemic. Not only are they practically
banned from their professions, but they also lack political representation. To give the scene a
voice, 170 agencies and 2000 artists have joined forces to form the „Booking United“ association.
Anja Schneider is one of the most prominent spokeswomen for the organization and represents
the interests of its members with passion.   Page 90

Digital Culture: AI
Anyone can wish for a song from Av3ry. She has written around ten thousand songs – and
­counting. Along the way, she broadcasts a continuous live stream in which hardly a beat is
repeated. This is only possible because she is an Artificial Intelligence programmed by composer
Alexander Schubert. His approach is fundamentally different from those of comparable projects:
The results are disturbing, dreamlike and strangely fascinating at the same time - yet Av3ry knows
nothing about music.  Page 36

8 • Beat 03 | 2021
 NEW

BEAT SOFTWARE
FOR DOWNLOAD

bit.ly/BeatDL182
VIEW AND DOWNLOAD IN YOUR BROWSER. WITHOUT REGISTRATION!
Magazine
Facts | Opinion | News | Products

by Phillipp Sterczewski

Three High-End Audio Inter­ Isolate Tracks for

faces with Remote Control Remixes with zPlane Peel
With the Red 8Line, RedNet A16R To produce mash-ups and creative
MkII and RedNet D16R MkII, Focus- remixes, the search for separated
rite delivers three premium-class audio tracks of popular titles is often
interfaces to the studios. Red 8Line is tedious. Either you search the
equipped with 58 inputs and 64 outputs. internet for instrumentals or aca-
Eight of each are analog line connec- pellas and, if you are lucky, you
tions. Other connections include ADAT will find the right one or you do the
(16 channels), Dante (32 channels), separation with the desired tracks
Digilink (2), Thunderbolt 3 and S/PDIF. The interface covers a frequency spec- yourself. With Peel, zPlane has created an interesting studio tool for this pur-
trum of 20Hz - 35kHz and has an addable high-pass filter. In addition, the pose that can be used, for example, to isolate vocal tracks or instruments from
RedNet A16R MkII and RedNet D16R MkII models are new to the market; they an overall mix in stereo. If required, only a section can be isolated. This selec-
both feature a Dante interface with 16 channels of inputs and outputs. S-PDIF ted section can be soloed or muted. Alternatively, the signal can be routed to
connections are also available here. The dynamic range is 119 dB. All interface external effects units to enhance the vocals with favored effects. For example,
models support resolution up to 192 kHz. The fourth innovation announced is a snare drum can be given a small reverb, or vocals can be given a chorus to
the RedNet R1 desktop remote control, which allows the user to mix 32 inputs add stereo width. The audio track is displayed spectrally. The spectral view also
and outputs. helps to identify mix problems.
These audio interfaces are available for 2,629 Euro (Red Peel is available now for 39 Euro and is available to run
8Line) or 2,019 Euro (RedNet D16R MkII) and 3,639 Euro under Windows and macOS in the VST, VST3, AU and AAX
(RedNet A16R MkII). RedNet R1 is also scheduled to ship formats.
shortly for 829 Euro.

store.focusrite.com More Info products.zplane.de/peel More Info

Audio Interface for a Small Price from M-Audio

M-Audio has launched M-Track Solo and M-Track Duo, two audio interfaces at a low-budget
price that can benefit mobile music producers in particular. Each audio interface connects to
the computer via USB. On the input side, the M-Track Solo features one XLR combo input for
microphone and one jack input for instruments. On the M-Track Duo, two XLR combo jacks
are already the standard. An in-house Crystal preamp was installed in each of the inputs, which
is supposed to be very low-noise according to the manufacturer. On the output side, there are
two line connectors each with RCA (M-Track Solo) and jack connections (M-Track Duo). There
is also a headphone jack on each interface, the volume of which can be controlled separately.
The best possible audio quality is 16-bit with 48 kHz resolution. So that the immediate produc-
tion process succeeds, there is still a software package included with the purchase. It includes
the Pro Tools | First M-Audio Edition DAW, as well as MPC Beats, AIR Music
Tech Xpand!2, Eleven Lite Guitar Amp and twenty AVID effects.
M-Track Solo is available for 49 Euro and M-Track Duo for 69 Euro.

www.m-audio.com More Info

10  • Beat 03 | 2021

 BEATMAGAZINE
Facts | Opinions | News | Gear

Steinberg Cubasis 3.2 – Perfect Vox Totally Stylish:

Mobile Professional DAW now with United Audient iD4 MKII and iD14 MKII
with Waves Plug-ins Plug-ins Voxessor Audio-Interfaces
Steinberg has upgraded its music production app The professional processing of speech and As affordable, compact USB 3 audio interfaces,
Cubasis to version 3.2. This update of the DAW voices is essential for podcasters, streaming acti- Audient introduces the new stylishly designed
app, which was recently completely developed vists and radio presenters. United Plug-ins have iD4 MKII and iD14 MKII models. This new gene-
from scratch, aims to impress with, among other developed the Voxessor effect plug-in with this in ration aims to provide more dynamic range and
things, the new effect processors Tune Real-Time mind. It uses various algorithms to quickly ana- a more linear frequency response through its
and H-Delay Hybrid Delay for iOS via in-app lyze the voice signal. For this purpose, there is the improved converters. Both models combine a
purchase as plug-ins. A total of 45 improvements Match section, via which the signal is analyzed dynamic range of 120 dB at a resolution of 24 bit
are promised for iOS and Android platforms. For for five seconds when the „Analyze Your Voice“ and 96 kHz. The direct connection to a computer
vocal tracks, Tune Real-Time lends itself to natu- button is pressed. After that, the signal is adjus- is thanks to the USB-C interface. While the iD4
ral-sounding pitch correction, while slap-back ted as good as possible to an optimal voice via MKII only has one XLR/line input, the iD14M-
echoes and ping-pong delays, as well as tem- the internal equalizer. The characters Man, Guy, KII has two of these connections to allow stereo
po-sync modulation, can be realized via H-Delay Woman and Girl are available for selection. The recording. The iD14MKII has one ADAT and S/
Hybrid Delay. In addition to improved stability, intensity can be adjusted to taste. There is also a PDIF input and four jack line outputs. On the iD4
workflow enhancements include the addition of dynamics section. To reduce annoying sibilants, MKII, the outputs are limited to two jack sockets.
keyboard and mouse support such as keyboard for example, you can use the de-esser, which can Both have a Class-A microphone amplifier and
shortcuts for recording, playback, navigation, be limited to a certain frequency. A one-button JFET instrument input, as well as two headphone
and edits. Another new feature is integrated mul- compressor and gate control are also included. outputs. Another new product is the EVO Start
ticore rendering support. The DAW app is com- With the autolevel function activated, automatic Recording Bundle, which consists of the Evo4
patible with iPad, iPhone, and Android phones. volume adjustment is achieved. audio interface, the SR2000 monitor headpho-
The full version of Cubasis 3.2 is now availa- Voxessor is now available in VST, AU and nes and the SR1 condenser microphone.
ble for download via the App Store or Google Play AAX plug-in formats for the introductory price of The audio interfaces are scheduled to be
Store at a price of 54.99 Euro. For C
­ ubasis 3 users, 29 Euro instead of the regular price of 129 Euro. available from specialist dealers from February
the update is free of charge. for 149 Euro (iD4 MKII) and 229
Euro (iD14 MKII).

new.steinberg.net More Info unitedplugins.com More Info audient.com More Info

Bold Channel Strip Plug-in from Acustica Audio

Opal is the latest channel strip emulation from Acustica Audio. It is meant to accurately
reflect the sonic character of the British Oram Sonic‘s Hi-Def 55 Limited Equalizer, once
designed by John Oram. There are two plug-ins, a standard version and an enhanced ver-
sion. The latter adds a preamp, stereo width controls, pan controls, volume controls per
channel for the output signal, and a mid/side signal processing option.
The main features of the authentically designed mixing and mastering plug-in include
an 8-band tone control per channel, while also combining shelf and bell curves. Apart
from the Low and HighCut filters, each of the bands (Low Sweep, Low Shelf, Low Mid,
High Mid, High Shelf and Hi Sweep) has a Q control for controlling the Q. Filter and EQ
can be switched on and off separately per channel. An LED meter provides information
about the level. The low-latency Core16 engine behind the plug-in allows
recording at resolutions up to 96 kHz. Opal is available at an introductory
price of 89 Euro (regular price 119 Euro) in VST, AU and AAX formats.

acustica-audio.com More Info

Beat 03 | 2021 •  11
BEATMAGAZINE
Facts | Opinions | News | Gear

Compact USB Controller with

Sequencer by Behringer
As a successor to the popular BCR2000 USB and MIDI con-
troller, Behringer unveils the BCR32 prototype. Its special feature is
that, together with the Zaquencer software, it has an integrated step sequencer
and 4-track sequencer for performing monophonic and polyphonic drum and note entries.
This compact controller is also said to be compatible with the iPad. The BCR32‘s main features include
32 encoders that can be assigned manually or user-specifically via Learn mode. Four virtual groups, eight
dual-mode encoders with push function, as well as 20 programmable buttons (to which note on/off,
­program changes or system-exclusive data can be assigned), expand the range of functions. A MIDI input
and two MIDI outputs are also included. For triggering external synthesizers, the BCR32 even keeps four
Filtryg –
CV/Gate connections at the ready. Up to 192 patterns and four tracks can be stored. There Wicked Filter Effect for Creatives
is also a small multifunction display. While its visual appearance initially evokes
An exact release date for the Behringer BCR32 has not yet been announced, but it some associations with Media Overkill‘s futuri-
is expected to retail for $149 US Dollars. stic Waverazor synthesizer, Filtryg is a dual filter
effect from the same company. The Morph knob
facebook.com/Behringer More Info lets you morph between the modes of the State
Variable Filter for dynamic filter variation. Sonic
expressiveness and rhythm should be brought
into the mix this way. In total, there are three
filter modes with the 12 dB State Variable Fil-
ter (low, high and band pass as well as Notch),
24 dB Ladder Filter (low and high pass) and the
Compacter DJ Controller with Motorized Multiple Biquad Filter. A drive control has been
Turntables by RANE added to the ladder and biquad filters. The cre-
If you want to experience the authentic feel of vinyl in ative filters can be switched serially, in parallel
the digital age, you‘ll love RANE‘s new eleven-pound DJ or as a mixed combination. Using the envelope
controller, One. The complete setup is composed of two followers, sidechain-like creative effects can be
motorized 7.2-inch turntables and a central battle mixer. created. The Audiorate Filter FM function also
The music can either be fed in via the two USB ports or contributes to this process by adding harmonics.
alternatively via external players using the phono and line connections. An aux path is also available as The LFO allows synchronization to the tempo.
an additional input. Visually, the color schemes can be changed.
The mixer is composed of two channels and a Mag Four crossfader. There are also 16 velocity-sensi- Filtryg is now available at the introductory
tive, illuminated performance pads with five modes per deck. Loops can be set right next to them. A 3-band price of 34 Euro instead of the regular price of 49
equalizer and access to a high-pass and low-pass filter are available for each channel. In Euro. This plug-in is available in cross-platform
addition, there are six effects from the included Serato DJ Pro DJ software, which can be AAX, AU and VST formats.
edited in intensity and fine-tuning. Also interesting are the Lock FX rockers to bring even
more creativity into the mix. The RANE ONE is expected to cost 1,799 Euro and will be deli-
vered in the course of the first quarter of 2021.

rane.com/one More Info mok.com More Info

Ultimate All-in-One Studio in Roland‘s Groovebox?

Roland Verselab MC-1 aims to incorporate the latest incarnation of a complete studio setup that
doesn‘t require an additional DAW. The standalone groovebox for the desktop generates its sounds
using the 128-voice ZEN Core sound engine. Artificial intelligence also plays a role in the pattern/
chord generator. The compact USB production studio with MIDI interface can also be connected to
a tablet or smartphone using the Zenbeats Music Creation app.
You can record your own samples via the microphone input and place them on the vocal track.
The vocal recordings can be archived to or loaded from the included SD card. There are also seven
instrument tracks. Musical sound fodder is provided by 3000 presets and 80 drum kits. In addition
to four vocal effects, there are also 90 multi-effect types and five master effects. Not to be forgotten is
the step sequencer with its 16 velocity-sensitive steps, on which rhythms with up to
128 steps can be programmed. Verselab MC-1 is expected to be available in stores
during February for 679 Euro.

roland.com More Info

12  • Beat 03 | 2021

 PERFORM

KEYSTEP PRO
Controller & Sequencer

Silky-smooth synth keys, the most addictive sequencer around, 4 polyphonic tracks, and unmatched
connectivity. There’s simply nothing like KeyStep Pro when it comes to getting everything playing together.
Sequence all your synths, modular, and software.
MUSIC IS OUR PASSION
SPECIALBEAT
Interface Finder

AUDIO, MIDI & CV

INTERFACE FINDER
PRODUCE TRACKS FASTER
GEAR UP YOUR WORKFLOW

Whether you want to record melodies or vocals, record or sample beats, integrate a modular system or perform live,
you need the right MIDI, audio or CV interfaces and controllers to keep things running smoothly. But which ones can
do what and, above all, which ones are best suited to your own workflow? In the following guide, we will introduce
you to current devices and their features, compare different models, and give you concrete tips on how to optimize
and perfectly expand your setup. by Stefan Hofmann and Marco Scherer

T
hey are the backbone of any setup, in the best actually needed for which purposes? On the fol- Additional inputs and
case workflow booster and the extended arm of lowing pages we will show you various sample outputs? ADAT can help
the user. Little is possible in the studio without setups with specific information about which In the days of tape recorders, video cassettes
audio interfaces and MIDI controllers. Sure, some type of hardware is best suited to each. On five were still recorded and transferred using ADAT,
ascetic producers also create wonderful hits with pages you will find detailed information on nu- nowadays the interface is used almost exclusively
just a laptop and a trackpad, but the higher the merous audio interfaces and controllers, as well for the transmission of bundled audio streams.
quality of the audio interface used, the better the as information on which of them fit the setup Thanks to optical transmission via TOSlink over
output and for a more tactile feel, controllers are recommendations. optical fiber cables, up to eight tracks can be trans-
simply the means of choice. At least when you play And if you still have questions, you‘ll find them ported simultaneously and without loss.
chords, a melody or other ideas, you can no longer answered in the tips and personal opinions from The greatest advantage of current interfaces
avoid using a keyboard. However, it only gets really the editorial team. For the most important techni- is the possibility of cascading several of them via
exciting when the hardware supports the creative cal terms concerning audio interfaces, you should ADAT in order to increase the number of inputs
process and does more than just transfer notes. also take a look at our Starter Guide, which you can and outputs. Devices of different types and manu-
But which features are important, which find in the magazine download section. We imme- facturers can be easily combined with one another.
criteria should be used when planning a diately jump into the fray and get started with the A maximum of 16 devices or 128 tracks can work
purchase, and what kind of interfaces are first tip. Have fun!. in a network.

16 •  Beat 03 | 2021

 SPECIALBEAT
Interface Finder

Quick check:
CV compatible audio interfaces
Interface Tested by

Alesis iO|14 ihav2p

Alesis iO|26 Brandon Daniel

Antex StudioCard SC-22 levlhed

Apogee Symphony I/O Kevin Vanwulpen

SoundFlower) [7], Loopback from Rogue Amoeba Digidesign 96 I/O Mick Glossop
[8] or Jack [9], it is possible to redirect signals in front
Echo AudioFire2 phase ghost
of the audio output so that they can be recorded.
The use of the tools is almost identical, because they ESI ESP1010 Arnoid
all generate a virtual audio interface in which virtual Eventide H8000FW Analog>Plugins
Control the modular rack inputs and outputs can also be routed as required.
Lexicon MPX 500 sine
via the audio interface Thus, the output from iTunes, the browser or other
Musically, AC/DC is of course an insanely success- arbitrary applications gets into the DAW or editor. Lynx Aurora 8 Jonathan Snipes

ful band, but from a purely technical point of view, Lynx Aurora 16 Martin Kucaj
the abbreviations stand for alternating current and Flexible hardware ­sequencer Metric Halo ULN-8 Metric Halo
direct current. While most audio interfaces are for less than 200 euros
MOTU Ultralite Pete Marshall
designed for pure audio playback and filter out It is almost no longer a secret that the good old
ultra-low frequencies via AC coupling, DC-coupled Behringer BCR2000 controller can be converted to MOTU Ultralite Mk3 Expert Sleepers
devices can also send direct current via the line a genuine standalone sequencer with up to 32 steps MOTU Ultralite Mk3 Hybrid George P. Macklin
outs and thus qualify for sending and partly also with a firmware update, the features of which are
MOTU Ultralite Mk4 Fatt Grabbers
receiving CV signals for the direct integration of impressive: Four monophonic or polyphonic tracks
modular systems. transport not only notes but also program changes, MOTU 828 justin3am
You can find an overview of current DC inter- aftertouch and any MIDI CC data. MOTU 828 MkII Scot Solida
faces in the table on the right. The CV signals them- There are also convenient recording and edi- MOTU 828 MkIII untinyunity
selves have to be generated using specialized soft- ting functions and the Flash ROM stores up to 192
MOTU 828x mwvm
ware or plug-ins. For example CV Toolkit by Spektro patterns, which can also be played back one after
Audio [1], Reaktor by Native Instruments [2], SQ4 the other via a pattern chain. The Zaquencer firm- MOTU 2408 MkII Cary Grace
Sequence Processor by dialog audio [3], Volta by ware is available for 79 Euros [10], the BCR2000 MOTU 2408 Mk3 Captain Proton

Source: www.expert-sleepers.co.uk/siwacompatibility.html
MOTU [4] or Silent Way by Expert Sleepers [5]. can be bought used for an average of 120 euros.
MOTU 24I/O doctorvague
A bargain for the features it offers. And if you have
Combine several interfaces with a BCR2000 in your setup anyway, you probably MOTU Traveller Jim Coker
Aggregate Devices & ASIO4ALL won‘t have to think twice. PreSonus Quantum PreSonus
What if you want to combine several audio inter- PreSonus Quantum 2 PreSonus
faces, but not all of them offer an ADAT interface? Novation Circuit as a synth
PreSonus Studio 1824 & 1824c PreSonus
Mac users can easily create a new aggregate device controller with 51 knobs
in the „Audio MIDI Setup“ and select which of the The Circuit is not only a handy groovebox, but PreSonus Studio 1810 & 1810c PreSonus
existing devices should be combined by checking also is a great controller for plug-ins, especially PreSonus Studio 68 & 68c PreSonus
the box. Then just name the new device and set software synthesizers. Although the hardware only
PreSonus Studio 26c PreSonus
it as the audio interface in the desired programs. offers ten knobs, of which only nine are suitable for
Windows users can combine at least two interfaces controlling parameters, but changing the current RME Fireface 400 UCAudio
with the free ASIO4ALL driver. Instructions can be view also changes the assignment of the controllers Universal Audio Apollo Twin UA
found in the video in the magazine download part so that they can be connected to other parameters
Universal Audio Apollo 16 UA
for the special.

Sampling from iTunes,

­YouTube & SoundCloud
Whatever is connected to the audio My opinion on DSPs Interfaces
interface can be recorded with a flick of by Beat author Stefan Hofmann
the wrist in the DAW or a sample editor.
Interfaces and DSP chips go together like sound tinkerers and the 500 rack. On the one hand, there are
Sampling the output from programs interfaces that use the integrated DSPs to calculate effects such as reverb during recording and thus
or websites, on the other hand, is not save computing power, since no plug-ins have to be activated in the DAW.
something you can do just like that. But
The top class, however, are interfaces that calculate plug-ins directly on DSPs even during the mixing
there are two tricks here: session. Universal Audio is probably the best-known interface manufacturer that provides this technology and a
In the personal tip of our author Marco large plug-in catalog. But AVID and Antelope Audio also rely on DSPs for plug-in calculation.
Scherer you will learn on the one hand how a solu- Also, the quality of the plug-ins from the above mentioned manufacturers is really excellent. However, there are
tion via an audio interface can work. On the other also disadvantages. For example, if you already have a large plug-in library from other manufacturers, you will
hand, thanks to so-called loopback software such have to spend more money to buy suitable plug-ins.

as Virtual Audio Cable [6], BlackHole (formerly

[1] www.spektroaudio.com; [2] www.nativeinstruments.com; [3] www.dialogaudio.com; [4] www.motu.com; [5] www.expert-sleepers.co.uk; [6] www.vb-audio.com/Cable/
[7] www.existential.audio/blackhole; [8] www.rogueamoeba.com/loopback/; [9] www.jackaudio.org/downloads/; [10] www.zaqaudio.com Beat 03 | 2021  •  17
SPECIALBEAT
Interface Finder

depending on the selected view. You can connect

knobs 1-8 of Synth 1 View to eight parameters via
the MIDI learn function of a synth. If you switch to
Synth 2 View, you can control eight other parame-
ters with the same knob. The views for drum 1 and
2, as well as drum 3 and 4 are combined in pairs
and each offer eight controls. The mixer and the
two effect views offer six controls and filters can
also be used once, so that you can control a total
of 51 parameters via the circuit. In combination
with the pads, the step sequencer and the internal
scales, the Groovebox becomes an impressively
comprehensive master controller.

More expression when

playing with MPE
ROLI is the manufacturer of the Seaboard, an
MPE-enabled controller keyboard that can send change the filter frequency for each note separately. All remotely controllable elements are framed in co-
five expressions for each note played. Thus it is In addition to the in-house synths Cypher 2 and lor. Simply click on one of them and move the knob
polyphonical. With MPE (short for MIDI Polypho- Strobe 2, also Arturia’s Pigments as well as nume- on the hardware synth, and the two are connected.
nic Expression) you can play an instrument much rous DAWs, plug-ins and apps support the protocol. Repeat this step for each additional controller that
more dynamically and expressively than with a A full list can be found on the ROLI website [11]. you want to control.
normal keyboard. Of course, such instruments also
have to support MPE so that you can, for example, The alternative: Controlling Hardware controller for plug-ins
­software synths via hardware In contrast to the use of synths for other purposes,
In almost every studio you will find one or the other there are also dedicated controllers that are built
hardware synth and if it has a MIDI interface, chan- specifically to control plug-ins. Most of them are
ces are good that the available controls also send designed for individual synths in terms of their
MIDI data aka Continuous Controller (CC). layout in order to give them a better feel. Others
And these can also be used to control plug- - like the Stereoping Synth Controller and Electra
ins. It is very easy: Most soft synths offer a mapping One - are designed to be more universal, but still
mode for this. With the u-he Repro-5, for example, tailored to synthesizers. You can find some models
a click on the red button at the top right is sufficient. in the table below.

Quick check: 12 current plug-in controllers

Controller Description

Dtronics DT-800 Programmer for JX8-p, JX10 and MKS-70 with the same Tip from the editor:
features like PG-800. Just sample everything!
Statement
by Beat author Marco Scherer
Dtronics DT300 PG300 clone. Controls Alpha Juno 1, 2 and MKS-50
synthesizer.
As an absolute sample freak, I want to be
Dtronics DT200 Made for Dual-DCO and polyphonic synths like JX-3P, MKS- able to record all sound generators via the
30 and GR-700. sample editor and MPC at any time. But in the
editor setup (WaveLab Elements) I have to decide
Dtronics DT-RDX A hardware controller for the Yamaha Reface DX. for one input channel, so spontaneous sampling of all
channels is not possible. Therefore I used the simple
Dtronics DT-01 A hardware controller for Roland Boutique D-05 and D-50 trick of connecting the S/PDIF output of my interface
/ D-550. directly to its S/PDIF input. In the editor, I have specified
the S/PDIF channel as the input.
Dtronics DT7 Indispensable programmer for Yamaha DX synthesizer.
To avoid feedback, I muted the S/PDIF channel in the
Stereoping Synth Controller Variable programmer with 16-48 real-time rotary controls.
interface‘s software mixer for all other outputs. As a
Electra One Up to 432 MIDI parameter from several synths simulta- result, every signal coming into the interface is now
neously under control. looped through to the sample editor via S/PDIF, so I
can record anything at any time. All you need is a mono
Soundforce SFC-60 V3 Driverless USB MIDI controller for the TAL-U-NO-LX cinch cable. I connected my MPC to output 7/8 of the
Juno-60-Emulation. interface and route all inputs except S/PDIF and the MPC
there. Sounds complicated, but it‘s easy to implement.
Soundforce SFC-5 Boutique USB MIDI controller for the u-he Repro-5 and The ideal solution!
Arturia Prophet V.

Soundforce SFC-1 Rev B USB MIDI controller for the Repro-1 by u-he.

Soundforce SFC-Mini V2 MiniMoog controller for Arturia Mini-V, NI Monark and

G-Force Minimonsta.

18 •  Beat 03 | 2021 [11] www.bit.ly/MPEapps

 SPECIALBEAT
Interface Finder

In conversation with Dankmar Klein:

How to find the
perfect interface
Opinions can differ on the subject of audio interfaces ... on the one hand,
every musician, producer or recorder needs one, on the other hand, the
choice is almost unmanageable. Dankmar Klein, product specialist at
­Focusrite, Novation & ADAM, tells us what you should pay particular
­attention to in order to find the perfect hardware for you.

Beat / Hi Dankmar, glad you found the time. What Beat / If you deal with audio interfaces, sooner
do you think are the most important points to look or later you will stumble across the term „Dante“.
for when purchasing? What is that all about?
Dankmar / If you want to make high quality micro- Dankmar / Dante is a promising audio over ether-
phone recordings, the audio interface of choice net standard that was launched around 15 years
should have good preamplifiers and converters. ago by the Australian company Audinate. In short,
If you don‘t want to work only with virtual instru- Dante is a combination of hardware, software and
ments, the number of microphone and instrument a network protocol that allows the transmission
inputs should fit. Simply put: a band needs a bigger of a large number of channels of uncompressed
audio interface than someone who “only” wants to more inputs and outputs, lower latency, and a gre- audio over standard network cables with very low
record vocals and a guitar at the same time. And the ater variety of connections. This is where I see the latency. This protocol opens many doors techno-
interface should come with good drivers to ensure main differences between cheap and high-priced logically: long cable runs are no longer a problem
stable operation. Last but not least, low latency is hardware. If you buy cheap, you don‘t necessarily at all for networking and loss-free and low-latent
also important in order not to lose the fun of playing! get what you pay for. You should only consider well transmission. And hardware from a wide range
beforehand what you will need (possibly also in of manufacturers that support the Dante protocol
Beat / And what are the typical pitfalls with audio the future), what fits the existing system in terms of works perfectly together in one system. As a result,
interfaces, where should you be particularly quality and what you can and want to afford. Dante is currently highly recommended for the fol-
careful? lowing areas of application: live sound, broadcast,
Dankmar / Unfortunately, sometimes people buy Beat / How do the Focusrite Claretts differ from the education, post production and larger studios.
audio interfaces that are too small and then after a Scarlett interfaces? However, I hope that the Dante standard will
while you realize that you want to connect all your Dankmar / The Claretts have even higher quality eventually become more of an option for home stu-
synthesizers and drum machines at the same time, microphone preamps than the Scarletts, a wider fre- dios as well. Focusrite has a lot to offer here, too,
or that you want to record with other musicians, but quency and dynamic range and a larger headroom with its RedNet product line: highest quality au-
unfortunately you only bought an audio interface for less noise. In addition, the Clarett‘s AIR mode dio interfaces, microphone preamps and control-
with two inputs. Another trap that I sometimes changes the impedance of the preamps. This allows lers. And they all work with the Dante protocol. A
see is that you want to save 20 or 30 euros on the us to add a different “color” to the characteristics little tip for testing live recording: If you want to re-
purchase and are „punished“ with an unstable and of our microphones. And all Clarett interfaces have cord a concert and the mixer has a Dante interfa-
possibly bad sounding audio interface. ADAT connections. ce, download a demo version of the „Dante Virtual
Sound Card“ from the Audinate website [1], connect
Beat / Is it possible to say in general how cheap Beat / In times of slim laptop setups, interfaces the mixer and computer via LAN cables and try out
hardware differs from high-priced devices? Do such as ADAT, S/PDIF or AES / EBU seem to come how easy lossless multitrack audio recording can be
you really get what you pay for, as the saying goes? from another world. Are options like these still in such a situation.
Dankmar / A lot of cheap hardware can do so much relevant at all?
more today if you compare it with hardware from Dankmar / I think that these connections still make
10 years ago. That is actually fantastic! The develop- perfect sense in some setups. For example, if I need
ment in the technological field always goes ahead. eight additional microphone inputs for recordings, I
Hardware is getting more powerful and better. You can easily do this via ADAT. Or if I work with effects,
definitely get more for your money. And that‘s good. converters or studio monitors that have AES/EBU
Nevertheless, as in almost all areas, there is still or S/PDIF connections, I can simply integrate them
room for improvement: Preamps and converters into my setup without having to go through the
could be even better, an audio interface can have converters again.

[1] www.audinate.com Beat 03 | 2021  •  19

SPECIALBEAT
Interface Finder

Tipps: 6 ideal hardware setups

COMPACT & MOBILE: SETUP FOR ON THE GO

One aspect is particularly important for mobile

users who use a laptop on the go. The additional
equipment should be bus-powered, i.e. not
MOTU M4
require a power supply unit for operation. Both
the MOTU M4 and the Akai MPK mini MK3 have
this feature. In addition, both devices are extre-
mely compact and therefore fit in any backpack.
With this setup you can record instrumentals and
make audio recordings.

Laptop

Akai MPK mini MK3

THE VOICE IN THE FOCUS: PODCASTS & VOCAL RECORDING

For voice and vocal recording, the RØDECaster Rode RØDECaster Pro
Pro and iCON Platform Nano DAW controller
are ideal. The RØDECaster Pro is designed
primarily for the production of high-quality
podcasts. Thus, it is also perfect for speaker
recordings. With the iCON Platform
Nano DAW controller, you have access
to a high-quality motorized fader,
making it easy to create auto-
mations for speech and vocal
recordings.

Desktop computer

iCON Platform Nano

FLEXIBLE AND CLEAR: HOMERECORDING

The Universal Audio Apollo x8 and the AVID
S1 DAW controller provide a professional setup
for producers. The Apollo x8 has DSP chips that
calculate the manufacturer‘s plug-ins directly in
the hardware. Thus, computing power can be
saved on the studio computer. The AVID S1 is a
Universal Audio Apollo x8
DAW controller that plays into the hands of Pro
Tools users in particular. Eight motorized and
touch-sensitive faders and eight freely assignable
rotary encoders ensure full control of your DAW.

Desktop computer

AVID S1

20 •  Beat 03 | 2021

• Laptop only |
• Vocals and speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup
 SPECIALBEAT
Interface Finder

CONTROL OUTBOARD GEAR: HARDWARE SYNTH SETUP

The ESI U168XT is ideally suited to have your

hardware synth setup always at hand. So you can
hardwire your synths via the 16 line inputs on the
back. For vocal recordings, you can simply switch
to the XLR inputs on the front panel without even
unplugging. With the Studiologic SL Mixface you
get a controller that gives you additional control
elements for your hardware synths.

Studiologic SL Mixface
Desktop computer
ESI U168XT

NOT QUITE TRIVIAL: DAW WITH MODULAR SETUP

To bring order into your modular setup, the
Arturia KeyStep Pro is perfect. Especially the
rear panel has it all. Pitch CV, gate and an
additional CV output - on which the velocity
signal is output - are available for all four voices.
To control drum modules, for example, the first
sequencer track can send data to the eight drum PreSonus Studio 1810c
gate outputs. For synchronization with Vintage
Gear, there are outputs and inputs for analog Arturia KeyStep Pro
Laptop
clock as well as an output for reset pulses. The
PreSonus Studio 1810c is a DC-coupled interface
and can therefore output CV signals via line with
the appropriate software.

STABLE AND BUS POWERED: LIVE-SETUP

In order to be able to perform your tracks live
without stress, the equipment used should
ideally be bus-powered. So you don‘t have to
worry about an additional power supply. Only
the laptop still has to be supplied with power
this way. The Focusrite Scarlett 2i2 mkIII
provides them with professional outputs that Focusrite Scarlett 2i2 mkIII
you can transfer to the live mixer - and that
with a very compact design. With the Novation
Launchpad Pro mk3 you can intuitively perform
your tracks live.

Laptop

Novation Launchpad Pro mk3

• Laptop only |
• Vocals and speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup Beat 03 | 2021  •  21
SPECIALBEAT
Interface Finder

Market check: 18 current audio interfaces

Audient EVO4
Small interface, big sound! It‘s amazing what sound quality you can MOTU M4
currently get in compact form for less than 200 euros. Practical With the M4 MOTU offers for the first time a USB audio interface in
features, direct operation and above all the more than convincing the low price range. This does not affect the quality. The work-
sound of both the inputs and outputs make the EVO 4 a real recom- manship is high quality, the converters adopted from the more
mendation for the desktop studio or for on the road on a laptop or expensive models sound very good, as do the pre-amps, and the
iOS device. equipment is practical.
www.audient.com | www.sonic-sales.de | Street price: 118 euros www.motu.com | www.klemm-music.de | Street price: 259 euros

Mackie ProFX6v3
Mackie has put a lot of features into the small, solidly built and
beautiful mixer. We really liked the two low-noise and sound-neu-
tral preamplifiers, the USB audio interface with a resolution of up
to 192 kHz and the practical connection options for the desktop
studio and live jamming.
www.mackie.com | Street price: 149 euros

Interface Audient EVO4 Focusrite Scarlett 2i2 Mackie ProFX6v3 NI Komplete Audio MOTU M4 IK Multimedia AXE
mkIII 6 mk2 I/O

Connector USB 2.0 (USB-C) USB 2.0 (USB-C) USB 2.0 USB 2.0 USB 2.0 (USB-C) USB 2.0

In- / outputs analog 2/2 2/2 2/4 4/4 4/4 2/5

In- / outputs digital / / / 2 x 2 / /

Resolution 24 Bit / 96 kHz 24 Bit / 192 kHz 24 Bit  / 192 kHz 24 Bit / 192 kHz 24 Bit / 192 kHz 24 Bit / 192 kHz

Input formats 2 x XLR or 2 x Line or 1 x 2 x XLR or 2x line 6 channels (stereo output 2 x XLR or 2 x XLR or 2 x instrument or 2 x
instrument can be recorded) 2 x line / 2 x line 2 x line / 2 x line XLR or 2 x line

Output formats 2 x line 2 x line 2 x XLR or jack 4 x line 4 x line or 4 x line out /
(1 x stereo) 4 x chinch 1 x reAmp

Headphone outputs 1 1 1 2 1 1

Headphone preamp 1 1 1 2 1 1

Digital In-/outputs / / / 1 x S / PDIF (In /Out) / /

MIDI In-/outputs / / / 1 1 1

Preamps 3 2 4 2 2 2

Bus powered yes yes no yes yes no

Phantom power yes yes yes yes yes yes

Suitability

Focusrite Scarlett 2i2 mkIII

The Focusrite Scarlett 2i2 3rd Generation is
a solid and compact audio interface for USB
connection. The well-known good sound of
the Scarlett series has been improved once
IK Multimedia AXE I/O
NI Komplete AXE I/O is an audio interface specially tailored
again in the third generation, with the new
AIR option making microphone recordings Audio 6 mk2 to the needs of guitarists and bassists with inte-
seem more open and assertive. The Komplete Audio 6 mk2 is prima- resting features also for music producers. The
www.focusrite.com | Street price: 139 euros rily suitable for the home studio. The Z-Tone feature makes every input signal fatter,
chic design, the solid drivers, the large the direct integration into the successful amp
volume control on the top, and DC-cou- simulation Amplitube provides the right distor-
pled outputs for integrating modular tion and re-amping allows you to record driving
systems speak for themselves. riffs on your notebook at night and post-process
www.native-instruments.com­ | Street them with a real amp.
price: 209 euros www.ikmultimedia.com | Street price: 349 euros

22 •  Beat 03 | 2021

• Laptop only |
• Vocals and Speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup
 SPECIALBEAT
Interface Finder

PreSonus Studio 1810c

The PreSonus audio interface has a balanced, neutral and detailed
sound and is therefore ideal for mixing and mastering tasks. In
terms of mic preamp quality, Focusrite is still ahead in this price
range, but the output side of the 1810c offers a somewhat more
analytical sound. Røde RØDECaster Pro
www.presonus.com | Street price: 399 euros
The RØDECaster Pro allows even
beginners to create professional
sounding podcasts without much
effort or training. The integration of
several people in the podcast is al-
Expert Sleepers ES-8 most optimally solved, thanks to four
Various rack and desktop interfaces offer CV outputs by default, but a microphone and headphone connec-
rack-mounted unit can be more practical. With their ES-series, Expert Sleepers tions each, as well as a sophisticated
offer several variants with which the rack and computer can be easily connec- function for telephone calls.
ted. Thanks to ADAT, expanding an existing interface is also no problem. www.rode.com | www.hyperactive.de
www.expert-sleepers.co.uk | www.schneidersladen.de | Street price: 419 euros Street price: 509 euros

Interface PreSonus ESI U168XT Expert Sleepers ACL Audio Interface Rode Rodecaster Pro Audient iD44
Studio 1810c ES-8

Connector USB 2.0 (USB-C) USB 2.0 USB 2.0 Eurorack USB 2.0 (USB-C) USB 2.0 (USB-C)

In- / Outputs analog 8/6 16/8 (can be used at the 4/8 5/4 4/2 (up to 14 tracks can be 4/4
same time) recorded)

In- / Outputs digital 10x2 1x1 1x1 / / 16x16

Resolution 24 Bit / 192 kHz 24 Bit / 96 kHz 24 Bit / 96 kHz - 24 Bit / 48 kHz 24 Bit/96 kHz

Input formats 4 x XLR or 4x Line / 2 x XLR or 2 x instrument or 2 x 4 x mini jacks 2 x XLR /  4 x XLR 4 x XLR or
4 x Line line / 2 x XLR or 2 x line /  4 x Line
2 x line / 12 x line 1 x stereo-AUX

Output formats 6xLine 8 x line (4 x stereo) / 2 x Line 8 x mini jacks 2 x XLR / 2 x line 2 x line 4 x line
(stereo)

Headphone outputs 2 2 - 1 4 2

Headphone preamp 2 2 - 1 4 2

Digital In-/Outputs 1 x S/PDIF (In/Out)/ 1 x S/PDIF 1 x ADAT (8x8) / / each 2 x ADAT
1 x ADAT (In) (In/Out; 4x4)

MIDI In-/Outputs 1 1 - / / /

Preamps 4 4 - 3 4 4

Bus powered no no yes / no no

Phantom power yes yes no / yes

Suitability

ESI U168XT
With 16 inputs and 8 outputs, ESI‘s USB audio interface offers an af-
fordable and compact solution for producers who want to integrate a lot
of outboard equipment such as synthesizers, drum machines and effects
units into their DAW. Other practical features such as the microphone
inputs that can be used twice and the hardware monitor mixer ensure a
Audient iD44
very good price-performance ratio. In terms of sound, the Audient iD44 be-
www.esi-audio.com | www.hyperactive.de | Street price: 449 euros longs to the absolute top class of interfa-
ces under 600 euros. In addition, it has
a very extensive range of features with
an endless controller that can be used
ACL Audio Interface as a scroll wheel and extended monitor
As inconspicuous as the task may be – it needs tools like the ACL audio interface to controller capabilities. It is therefore
enable the professional integration of a rack in the studio. The quality of the module is recommended for both beginners and
beyond any doubt, the AUX path is a useful addition and the headphone out is a valuab- semi-professional studios.
le bonus. Only the price is likely to offend some. www.audient.com | www.sonic-sales.de
www.audiophilecircuitsleague.com | Street price: 449 euros Street price: 555 euros

• Laptop only |
• Vocals and speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup Beat 03 | 2021  •  23
SPECIALBEAT
Interface Finder

Universal Audio Apollo x8

The Apollo x8 audio interface convinces in all areas.
It runs stably with almost inaudible latencies and
the high-quality converters, in combination with the
SPL Marc One elaborate analog circuits, deliver a pristine and natural
The SPL Marc One is a monito- sound. In addition, there is the option of having the
ring and recording controller excellent UAD plug-ins calculated with the built-in pro-
that not only impresses with cessors and thus relieving the music computer.
Zoom LiveTrak L-20R its excellent processing quality www.www.uaudio.de | Street price: 2.499 euros
In principle, the Zoom L-20R is an inexpensive and a great operating concept.
and good sounding jack-of-all-trades that is Especially its sound characteri-
good for concert recordings as well as in the stics and the well thought-out
home studio or as a permanent installation. operating concept make the
www.zoomcorp.com | www.sound-service.eu device a professional compa-
Street price: 669 euros nion in the studio.
www.spl.audio
Street price: 707 euros

Interface Zoom LiveTrak L-20R Arturia AudioFuse SPL Marc One Tascam Model 24 Universal Audio Roland Fantom 6
Studio Apollo x8

Connector USB 2.0 USB-C USB 2.0 USB 2.0 Thunderbolt 3 USB 2.0

In- / Outputs analog 22 /4 8 /6 4 /7 24 /2 8 /10 6 /32

In- / Outputs digital / 10x10 / / 10x10 -

Resolution 24 Bit / 48 kHz 24 Bit / 192 kHz 32 Bit / 768 kHz 24 Bit / 48 kHz 24 Bit / 192 kHz 24 Bit / 48 khz

Input formats 16 x XLR or 16 x Line / 2 x Ste- 4 x XLR or Line / 2 x 4 x Line 12 x XLR bzw. 4x XLR or 2 x XLR or
reokanäle (4 x Line or 4 x Line or Cinch / 2 x Line Line (Mono) / 4 x Line / 4 x Line (in 2 x Line
Cinch) + recording of the 4 x XLR or Jack addition 2xHi-Z)
sum (Stereo)

Output formats 2 x XLR (1 x Stereo) / 6 x Line 4 x Line / 2 x Line 7x Line 2 x XLR (Stereo out) 10 x Line 2 x XLR, 8 x Line, 4 x CV
(3 x Stereo) (ReAmp)

Headphone outputs 1 (Monitor / Outs can be used 2 1 1 2 1

as well)

Headphone preamp 1 2 1 1 2 1

Digital In-/Outputs / 2 x SPDIF / 2 x ADAT / / 1 x S/PDIF / 2 x ADAT /

(4x4) (4x4)

MIDI In-/Outputs / 1 / / / 1

Preamps 16 4 / 16 4 /

Bus powered no no no no no no

Phantom power yes no yes yes no

Suitability

Tascam Model 24 Roland Fantom 6

The strengths of the Model 24 lie in its versatility. Even All-in-one: Fantom allows you to control
as a simple mixer with 16 mic inputs, single-button software synthesizers directly via the
compressor on most channels, and built-in effects integrated touchscreen, as well as modular
unit, the Model 24 is great. In the small studio, the USB and analog synthesizers via the two CV/
audio interface is useful for multi-channel recordings Gate outputs. It also functions as an audio
Arturia AudioFuse Studio in the DAW. All functions can be combined. The price is interface with up to 16 stereo outputs and
Eight analog inputs, an extensive very fair for the features offered. three stereo inputs.
monitor section, digital connec- www.tascam.eu | www.teac.eu | Street price: 919 euros www.roland.com | Street price: 2.923 euros
tions, MIDI, Bluetooth and USB hub
leave hardly any wish unfulfilled.
The AudioFuse Studio is recom-
mended as a central control center
for the ambitious home studio
as well as the semi-professional
project studio.
www.arturia.com | www.tomeso.de
Street price: 899 euros

24 •  Beat 03 | 2021

• Laptop only |
• Vocals and speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup
 SPECIALBEAT
Interface Finder

Review: Symphony Desktop

Apogee has packed the technology of the highly acclaimed Symphony I/O MKII audio interface into a more compact
and significantly cheaper desktop format. by Jan Wilking

T
he Symphony Desktop is “cheap” in Quality instead
of quantity:
Features
relation to its big brother, because Symphony USB-C audio interface
you have to put almost one and a half Desktop
thousand euros for the small interface. doesn‘t have 10 In x 14 Out
much to offer
But you get a top class audio interface in terms 2 Microphone/line inputs
with some extraordinary features. of analog
connections. DSP with preamp
emulations
Few analog connections 24 Bit/192 kHz
From the outside, you can‘t directly see
the special features of Apogee Symphony Dynamic touch screen
display
Desktop, apart from the lack of any con-
trol elements with the exception of the Optical I/O
large volume control. The entire operation (ADAT and S/PDIF)
takes place via a large touchscreen dis- DSP with the help of the USB stick inclu- is hardly surprising, after all, the same from MacOS 10.13, Win10,
play. In the front, there is an instrument ded in the scope of delivery, thus ensuring technology was used as in the excellent iOS 13
input for uncomplicated direct access, platform-independent updates. The Symphony I/O MkII. Operation via the
as well as the headphone output. An power supply is provided by the included large and very responsive touchscreen
instrument input and headphone output power supply. is intuitive. All important elements
are located at the front for uncomplicated can be accessed directly at the same
direct access. Analog preamps time. We liked this operating concept
On the back there are two further in- The special feature of Apogee Symphony better than the usual operation of other
puts for instruments or microphones, de- Desktop is its hybrid design. Apogee does desktop audio interfaces via a handful
signed as XLR/jack combo sockets. The not rely solely on a DSP for signal proces- of navigation buttons and knobs and a
second input doubles the front input and sing, but combines it with analog circuits. small display. Especially Logic Pro users
Facts
switches it off as soon as it is occupied with This combination enables, among other benefit from the deeper integration Manufacturer: Apogee
a cable. In addition to two balanced audio things, the „Alloy Mic Preamp Emulation“, of the included software package. For Web: apogeedigital.com
Distro: Sound Service
outputs, there is another freely assignable a replica of an analog vintage microphone example, the Symphony ECS Channel
Price: 1.449 euros
headphone output. So Symphony Desktop preamplifier with the popular, warm, Strip, a combination of equalizer,
doesn‘t have much to offer in terms of ana- round and saturated sound. At Apogee compressor and saturation, can also J professional sound
log inputs and outputs. You can expand the this is not a marketing gimmick either, be calculated by the DSP in the audio J hybrid technique
J preamp emulationen
interface with suitable converters via the since with good microphones, a professi- interface for latency-free monitoring.
J big touchscreen
ADAT inputs and outputs, a maximum of onal recording environment and sensible
J iOS compatible
10 inputs and 14 outputs (including head- monitoring, you will hear the difference Conclusion
phone outputs) are possible. in the harmonic distortion and the special An audio interface with just a handful of Sound:
type of transient processing. Symphony analog connections at a price of almost Operation:
Cross-platform Desktop offers the emulation of two 1,500 euros does not seem very attractive Price/Perf:
It is connected to the computer via the typical representatives of this genre to at first glance. In a DAW-based setup, Total:
USB-C port. In this respect, the interface choose from, British Solid State and 50‘s however, this is often no longer required;
proves to be very flexible and works with American Tube. The “Advanced Stepped there the actual quality of the microphone
Windows and Mac computers as well as Gain Architecture” prevents unwanted recordings and the output converters is
with mobile iOS devices like an iPad Pro. interference and distortion and can also more decisive. And this is where Symph-
Fittingly, there is a USB host port, which cope with high sound pressure levels. ony Desktop scores: Equipped with the
is responsible for updates of the built-in Correspondingly, the preamps work very technology of the much more expensive
noise-free with correct levels and offer a Symphony I/O MkII, the compact audio
gain of up to 75 dB. interface offers excellent sounding pre- Alternatives
amps with lots of analog character and Universal Audio Apollo
Outstanding sound a transparent, detailed Solo USB
The analog operational amplifiers in output in professional 718 euros
conjunction with the high-quality con- quality, combined uaudio.de
verters ensure a transparent, detailed with a uncomplicated Antelope Discrete 4
and natural sound, the same applies to operation via the large 983 euros
playback via the output converters. This Find out more touchscreen. r antelopeaudio.com

Beat 03 | 2021  •  25
SPECIALBEAT
Interface Finder

Novation LaunchPad Pro mk3

Market check: 12 current MIDI controllers The LaunchPad Pro mk3 is improved
in every way. The Ableton integration is even deeper,
the pads offer a very good feel and the custom mode
transforms the LaunchPad into a freely programmable
Akai MPK mini MK3 MIDI controller. The highlight is the flexible standalone
For just under 100 euros, the MPK mini MK3 offers a convincing overall package: Very sequencer, which, thanks to the built-in MIDI connec-
good drum pads, sensible mini-keyboard, appealing encoders, display and arpeggiator tions, also allows using the LaunchPad in a setup
meet almost every requirement for a USB controller in a very compact format. without computer.
www.akaipro.com | www.inmusicbrands.com | Street price: 99 euros www.novationmusic.com | Street price: 289 euros

Komplete Kontrol A49

The A-series is recommended as an inexpensive and compact variant of the Kontrol
keyboards. It has the benefit of a very well playable keyboard. The large gra-
phics-capable displays and the light guide, however, have been omit-
ted, which is why it is often necessary to look at the monitor and
reach for the mouse. But the basic functions, above all the perfect
integration into the in-house software, have been retained.
www.native-instruments.com | Street price: 179 euros

Controller Akai MPK mini MK3 iCON Platform Nano NI Komplete Kontrol Studiologic SL Novation Launchpad Arturia KeyStep Pro
A49 Mixface Pro mk3

Type Controller keyboard DAW controller Controller keyboard MIDI controller Grid controller Controller keyboard

Performance pads 8 / / / 64 16

Keyboard keys 25 / 49 / / 37

Velocity sensitive yes / yes / yes yes

Rotary control 8 6 9 9 / 8

Transport section / yes yes yes yes yes

Fader / 1 (motorized fader; / 9 / /
touch sensitive)

Connectors Sustain pedal 2x USB; 2xfoot switch, USB; foot switch USB (micro & A) USB, MIDI (In/Out/ USB; 8xdrumgate out;
platform D2 LCD dis- Thru) 4xCV/gate/mod out;
play connector 1xMIDI-In; 2xMIDI-Out;
Sustain pedal; Clock;
Metronom out; power
supply

MIDI interface / / / / yes yes

CV / / / / / yes
Integated production / / / / / /
system

Integrated Interface / / / / / /

Bus powered yes yes yes yes yes yes

Suitability

Studiologic SL Mixface Arturia KeyStep Pro

SL Mixface is a compact and solid con- The keyboard controller
troller that not only complements your offers a compact 4-track
USB master keyboard with additional control sequencer with numerous
elements such as faders and pots, but also serves extras and can be used as
as a control center between different devices thanks a control center to manage
to its USB host function and Bluetooth. SL Mixface can complete live performan-
be used as a DAW controller and to operate plug-ins and ces on its own. KeyStep
iCON Platform Nano apps, whereby the well thought-out zone concept allows a Pro shows its strengths
Despite the low price and the flexible integration. especially in connection with
compact form, Platform Nano www.studiologic-music.com | www.b4-distribution.com Eurorack modules and other
offers a wide range of features Street price: 179 euros analog synths. Four Voices
that goes far beyond controlling the volume via each with CV/Gate/Mod and
motorized fader. Praiseworthy are the support eight trigger outputs for
of really all current DAWs including matching drums and percussion leave
overlays as well as the switchable, multi-colo- little to be desired.
red function buttons. www.arturia.com
www.iconproaudio.com | www.sound-service.eu www.tomeso.de
Street price: 168 euros Street price: 378 euros

26 •  Beat 03 | 2021

• Laptop only |
• Vocals and Speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup
 SPECIALBEAT
Interface Finder

MIDI interfaces

TA Programming iConnectivity mio10

Studio MIDI And CV Interface The editorial team was completely enthusiastic
ESI M4U eX The Studio MIDI and CV Interface is very about the iConnectivity mio10. The mio10 has
M4U eX is an uncomplicated, stable MIDI solid. Certainly there are also modules a very low latency and offers a high stability.
interface for the USB port with very good for the rack that convert MIDI to CV, but Anyone who works a lot with MIDI and knows
timing. As there is no fixed assignment of the interface with its tools offers much the problems, should pay attention to the
the eight MIDI ports, it can be configured more value. Also apart from the modu- mio10.
flexibly. The integrated USB hub can be lar world, it‘s a clever interface between www.comline-audio.de | Street price: 350 euros
used for dongles or USB controllers, for computer and all outboard gear.
example. The standalone function is also www.taprogramming.com  
practical. Street price: 139 euros
www.esi-audio.de | www.hyperactive.de
MIDI-Inter- ESI M4U eX TA Pro- iConnecti-
Street price: 139 euros face gramming vity mio10
Studio MIDI
And CV
Interface

Controller Softube Console 1 NI Maschine+ AVID S1 Interface USB 3.0 & USB 2.0 USB 2.0
Fader USB 2.0

Type DAW controller Standalone groovebox DAW controller MIDI yes yes yes
and controller
CV no yes no
Performance pads / 16 /
Connec- 8xMIDI; each 1xMI- each 10xMI-
Keyboard keys / / / tions 4xUSB DI-In-/Out; DI-In-/Out;
3.0, power 4xCV; 1xUSB ethernet;
Velocity sensitive / yes / supply 2xUSB

Rotary control 1 9 8

Transport section yes yes /

Fader 10 (motorized fader; / 8 (motorized fader;

touch sensitive) touch sensitive)

Connectors USB, power supply 3xUSB; foot switch; USB, power supply,
MIDI (In/Out); 2xLine ethernet AVID S1
in; 1xMic in; head-
phone output Avid has achieved the next
„big thing“ in terms of DAW
MIDI interface / yes / remote control with the
S1. It’s a haptically essen-
CV / / /
tial workflow component
Integrated production / yes / in combination with the Control
system App and EuControl software. If you are
thinking about purchasing a DAW controller,
Integrated interface / yes /
you should definitely take a closer look at the S1.
Bus powered no only in controller mode no www.avid.com | Street price: 1.374 euros

Suitability

Native Instruments Maschine+

Softube Console 1 Fader The Native Instruments Machine + is the consequent development of the
Console 1 Fader works particularly well in combination with Con- established machine concept in a standalone production environment.
sole 1 mkII. With the well-made hardware controller, whose fa- To be more precise: A Maschine MK3 that also works without a computer.
ders run easily and quietly and convinced us with a fast response This means that you can use all the advantages of the computer-based
time, you bring the feeling and sound of a professional recording working method, but at the same time you can produce music completely
console into software-based studios. independently.
www.softube.com | www.audiowerk.eu | Street price: 549 euros www.native-instruments.com | Street price: 1.233 euros

• Laptop only |
• Vocals and speech |
• Producer setup |
• Hardware synth setup |
• Modular setup |
• Live setup Beat 03 | 2021  •  27
BEATPERSONALITY
Portrait

Portrait: Fotos

Modular Illumination

 I didn‘t understand for a

long time that it‘s difficult to
implement electronic elements
when you write songs with
many chords. «
 BEATPERSONALITY
Portrait

When the first lockdown paralyzed Germany, Tom Hessler used the time creatively. Armed with a modular system,
tape echoes and a Farfisa organ, the singer, guitarist and sound tinkerer of the indie band Fotos created the basics
of the band’s fifth long player „Auf zur Illumination!“ (release date: February 26, 2021) in his home studio in
Neukölln. An album that combines electronic music with kraut and psychedelic rock. Other elements such as real
drums and tremolo guitars were added by the rest of the band after the lockdown in studio Radio Buellebrueck
Kreuzberg. An extraordinary journey that leads directly into the artist‘s subconscious with nine songs and lyrics
influenced by William Blake, Thomas Pynchon or Rolf Dieter Brinkmann. In the interview Tom told us with great
passion about modular systems, early morning inspirations, recordings on cassettes and his great influence Ariel
Pink. Interview: Sascha Blach

Beat / „Auf zur Illumination!“ is your second Echo and Echoplex - and my Farfisa organ, which and more intuitive when it‘s either atonal, moving
album in the last ten years. Are you a band that I bought at the same time. Within a few months, towards noise, or if you have pedal tones. Kraft-
deliberately takes a lot of time? a set of instruments was created in my home stu- werk‘s “Automat” is the best-known song in this
Tom / We had a long “hibernation” between the dio that is perfectly coordinated with one another. field. If the oscillator is tuned to a key note, you
third and fourth album (“Porzellan” from 2010 It resulted in an overall aesthetic that sounds re- have a lot of freedom with the modular system
and “Kids” from 2017 - note by the author). At tro-future-like. Kind of a sci-fi-esque 70s sound and you can let off steam.
that time, I spent seven years studying synthesi- that inspired me to write the lyrics in that direc-
zers and modular synthesis. I started producing tion too. Beat / Do you have a song idea first and add the
and got used to electronic music - as a listener modular or vice versa?
and a musician. But it took longer than I thought. Beat / What influence did the lockdown have? Tom / In general, I‘ve always been someone who
Suddenly five years were over and when I had Tom / It sparked an apocalyptic mood. The streets has tried to get into a playing mode in a child-
written the album “Kids”, but the rest of the band were empty and no more job assignments came like way with the instruments at my disposal and
and the producer at the time, Tobias Siebert, were in. It was also very quiet in the house. There- create a sound that inspires me to record the next
busy with other projects. But this time it went fore I got up very early every morning, started to sound on it. I‘m not someone who sits down with
faster again, because it was only two and a half develop something on the modular system and a guitar and comes up with a totally cool chord
years and I hope that there will be more „flow“ - inspired by the sounds - wrote corresponding structure. Usually this happens through sound
again in the future. lyrics. This quickly resulted in a guideline. timbres. A song then emerges from these sound
worlds, usually when the first song melodies and
Beat / „Auf zur Illumination!“ took its course Beat / Music that is created with a modular text ideas arrive.
during the first lockdown. From that point of system often ends in abstract soundscapes. On You can hear it very well in the second sing-
view you were indeed very quick this time. your album, however, it‘s songs in the classic le “Rauschen”, which starts with a Serge drone -
Tom / Yes, we‘ve only been that fast on the sense - even if they sound repetitive and kraut like a roaring beam that runs through the song.
very first album so far. This was also due to the rock-like. Was it difficult to channel the modular Although the root tone D doesn‘t fit some chords
fact that writing and production was a flowing idiosyncrasies into traditional songs? in the song, I left it that loud, because that‘s what
process, since I was also a producer myself. Tom / Yes, totally. I hadn‘t realized for a long creates the threatening and cinematic quali-
Within four months the album was both written time that it was difficult to implement electronic ty that defines the song. In the production pro-
and produced. elements when writing songs with many chords. cess with the band we tried to reduce the arran-
Unless you play very classically to it with the gement, make it more song-like and anthemic,
Beat / What was your setup like? synthesizer. But I‘m not a keyboard man. With because it was clear that “Rauschen” is an im-
Tom / As I said I had this long phase in which I the modular system it‘s something else anyway, portant song.
worked my way into modular synthesis. I moved because it‘s not necessarily the point to connect But I ultimately prevailed because for me the
to Berlin in 2010 and it all began in 2012 when I a keyboard and play something to it. You want to most important thing in the song is the modu-
started shopping at Schneidersladen. They call it create self-generating and changing patterns that lar drone, around which everything happens. If
„Eurocrack“ and it‘s true - it makes you addicted are organic and interesting. When songs have too you reduce that to make it more harmonic, poppy
incredibly quickly since you always want to try many harmonies it becomes difficult. and accessible, it becomes a Schlager, or at least
new things. I bought a lot of stuff and was really But as soon as something is based on pedal a one-dimensional guitar-pop song that no one
hooked, but then sold almost everything the tones in kraut rock style and modulates different needs. But now there is this break between the
year before last, also for financial reasons. Then chords on a bass note, the modular system with lovely harmonies and the brave-new-world lyrics
I started assembling devices myself and got the its drones and soundscapes fits better. Of course and the drone that sounds “larger than life”.
Serge Modular Systems kits from Random*Source. you can also do something with the modular to
They have their very own sound that goes in songs with complex chord systems. Aphex Twin, Beat / Are you more effective and determined
a tube-like distorted direction. That worked well for example, builds the most complex harmonies when searching for sounds or do you like to
with my newfound love of tape echoes - like Space with its Cirklon sequencer. It‘s just a lot smoother spend hours playing with the devices?

Beat 03 | 2021 • 29
BEATPERSONALITY
Portrait

Tom / There are these songs - those that get the songs didn‘t end up on the album. It‘s ama- This gives you a very own aesthetic that is impos-
done and good. I have a moment of inspira- zing how much more distortion there is on a real sible to copy. This can also be heard in the song
tion when I‘m not at the instrument yet. Often cassette compared to the emulation plug-in. At “Neue Lunge” of my solo project Der Assistent. It
in the morning at 6 a.m. when it is still dark. least with my setup. This distortion can be good, happened in a few productions, that I‘ve played
I‘m not fully awake yet, but the machine up and sometimes it is a little too much. Most of the out mixes with the Dolby C mode again, so that a
there is already running. I then think through time, however, the cassette was used on the mas- relatively aggressive mix came back quite soft and
which cable connections I could try to create tering bus. gentle, so that other people guessed for months
something that is fun that I haven‘t had before. what it could be. So in the end my mix had to be
Then I get up, go to the studio in the next room Beat / Wasn‘t that a problem with the timing? taken (laughs).
and put it into action. Those are basic frame- Tom / Definitely. The tracks or stems then had
works that come together in a jam within an hour to be cut every four bars or so on the click again, Beat / Well, stupidly you gave it away (laughs).
or two and don‘t change much after that. because it totally messes up. Therefore, it was Tom / Yes, but that‘s because the music, which
It‘s more a matter of adding details like har- only possible with spheric elements. has become popular primarily through stre-
monies or transitions. For example, I later had aming, sounds more and more similar and
to improve the continuous pulsing on the “Sil- Beat / Was a classic tape machine also used? interchangeable so that it fits into the playlists.
ver Machine”. It comes from the Serge DUSG, Tom / No, because it sounds too good (laughs). These are pieces that have to fit the algorithm
which is like a Swiss Army Knife and can do pret- Don‘t get me wrong, tape machines sound and mostly come from a small group of songwri-
ty much anything, but the timing is not super cle- great. But this time around, we were keenly inte- ters who supply countless performers. Anyone
an. I had recorded the song itself twice, edited it rested in creating an aesthetic that was bold and who has a good computer, a bit of know-how and
and that was it. special. Olaf played a big part in that. It would a few plugins can now do good productions, but
have been too good with the tape machine. The what is becoming more and more difficult is to
Beat / You have recorded also on cassette. cassette, on the other hand, produces a sound distinguish oneself.
Really on a cassette or on a tape machine? that has not been heard so often. When a tape The listener shall have the feeling, what‘s go-
Tom / I was able to take part in the completion machine is well calibrated, in the end it doesn‘t ing on here?! Then you have to look for the right
process of The Düsseldorf Düsterboys record sound like anyone could tell directly how it was tools that can generate that. Since I was at an Ari-
last year. I had made my room available and was recorded. el Pink concert ten years ago, he has been a pi-
allowed to sit next to it when producer Olaf Opal, It just sounds very well. Queens Of The Stone oneer of this methodology for me - working with
who now also mixed our album, wanted to check Age, for example, record all drums with an Ota- trash, lofi and other things that are actually for-
whether the band‘s cassette recordings weren’t ri tape machine. That sounds awesome, but not bidden if you want to create good sounding ex-
worse than the tape machine. The band had lofi, funny or special. In the case of a cassette re- periences. But this creates a metaphysical quali-
pulled the mixes on cassette and Olaf wanted corder, the artifacts of a tape that has been over- ty that reaches the subconscious.
to check whether the tape machine wouldn‘t dubbed several times are harmonic distortions
be better. Then, after a long process, we decided that don‘t actually sound pleasant at all. Treb- Beat / Just like Fotos, because after all, their
that the cassette really sounds better. le is taken away and other treble is added in re- record title „Auf zur Illumination!“ doesn‘t
I then incorporated this approach into my turn. What‘s interesting about my tape recorder come from anywhere ... r
band and got myself an old Tascam casset- is the Dolby C effect, which is the noise reduc-
te recorder that also has a pitch control, which tion mode. It creates aggression in the peaks of www.fotosmusik.de
was important to me because I wanted to play drum sounds and the highs are reduced to such
things back more slowly. In the mix, however, an extent that fine highs like an 808 hihat can no
Olaf came with the very good cassette emulati- longer get through.
on plug-in Wavesfactory Cassette. That was cool
because you didn‘t have to copy everything to
tape and back again. Also, it didn‘t sound qui-
te as aggressive in terms of distortion. We then
worked a lot with the plugin accordingly. Ho-
wever, on the mastering bus it should be treated
with caution (laughs), because it can cause a lot
of destruction.

Beat / So sounds were recorded with the

computer, but then copied again to cassette and
then back again?
Tom / Right. In principle, we bravely and boldly
transferred the complete mixes from the sound
card to the cassette and then - a
little slower - transferred them back
again. The last song “White Waves”
can be heard a little lower on the This time around, we were
very interested in created an aesthetic
album than we recorded it. This
gives it a slightly enraptured effect.
There were also individual re-
cordings that we put on tape, but
that was bold and special. «
30 • Beat 03 | 2021
 BITWIG
8-TRACK
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BEATPERSONALITY
Portrait

Discovered: Egopusher

The Art of Waiting

Using the unconventional instrumentation of violin and drums, Tobias Preisig and Alessandro Giannelli have
created something remarkable: Pulsating sequencers meet tidal tone waves, mantra-like rhythms bleed into sensual
­soundscapes. On their new album, Beyond, the pieces are more dancable than ever, but they‘re even more intensive.
Words can not do this band justice – in fact, they tend to get in the way. by Tobias Fischer; Photos: Simon Habegger

Beat / You met as part of the group for Dieter Beat / Violin plus drums is not exactly a conventi- Beat / Alessandro, on your self-titled EP the
Meier‘s „Out of Chaos“ project. How did you onal instrumentation. So it‘s interesting that you first two pieces are great examples for the ext-
get to play with him? had no concept whatsoever when you founded remes you‘ll go to with Egopusher: On „Purple
Alessandro / One day Tobias left a voice mail Egopusher. What gels this project together? Air“, the percussion sounds electronic and
on my phone. He told me that Nick Cave drum- Alessandro / We hardly ever talk about the music minDimal. On „Sunbeam Scream“, on the
mer Thomas Wydler was unable to play a few we want to make. Before beginning work on other hand, it is complex and jazzy. Why these
shows and Tobias asked me if I could stand in Beyond, we met for a walk through the forests radical contrasts?
for him. I agreed and that was the beginning of around Zurich to plan the direction we wanted Alessandro / I‘m glad you mention these two
our journey. to take. The conversation was difficult and there tracks. For me, they are excellent examples for
Tobias / For months, we made use of every didn‘t really seem to be common ground. So we my drum palette in Egopusher in 2015. Back
single minute of free time to meet in our re- decided to just return to the basement and start a then, the drums would take on a different role
hearsal basement to jam, experiment and try session. That day, we laid the groundwork for the in the band. Before I met Tobias, I would mainly
things out. Finally, we got our first gig: 30 mi- album opener „Blue Moon“. Music will somehow play other people‘s songs in various formations.
nutes as the opening act for the band „Trabant show us the way. With Egopusher, I could fully express myself as
Echo“ at the art space „Perla Mode“ in Zurich. a musician and drummer. I experimented a lot.
This was all the way back in 2013. Too many notes On „Sunbeam Scream“, for example, I placed
cymbals on top of the toms to create a sort of
Beat / What were some of the things you le- Beat / Tobias, you have a pretty personal approach industrial aesthetic.
arned from „Out of Chaos“ which turned out to playing the violin. Can you talk about that a bit?
to be useful for Egopusher? Tobias / I used to play a lot of jazz and classical Beat / So, essentially, you consider the drums
Tobias / Dieter is a great storyteller, but he music in the past – styles which ask for a lot of no- as an integral part of the composition.
also loves punk. Combine that with a produc- tes. But at some point, I lost interest in playing fast Alessandro / Precisely. I‘ve always primarily
tion team made up of Patrick Christensen (PC cascades of notes. I started to get bored by techni- been interested in albums, bands and artists
Nackt), T. Raumschmiere and Ben Lauber and cal virtuosity. As a violinist, you don‘t need to bre- and less in individual instrumentalists. I‘ve also
you‘ve got an exciting combination. They all athe, you can just indiscriminately play tones fo- always been fascinated by big beats and bre-
combine electronic music with pop and punk. rever. It didn‘t feel natural to me. Instead, I started akbeats and have tried to recreate them live
PC in particular loves turning things upside to search for urgency, for the existential aspects of on the drums. I would play along to tracks by
down first and then finding his way out of the music. I want to express something that really me- artists like Propellerheads or the Chemical Bro-
maze he created. We were like one big family ans something to me. thers for hours.
and the music was a huge playground. We were
performers and instruments at the same time. Beat / So you changed your technique? More colours
The sessions were raw, creative and truly spe- Tobias / Part of the solution was to imitate singing.
cial, without ever loosing that pop angle. I would do that for years. Breathing, phrasing, nar- Beat / You‘re still playing violin and drums.
rating – these were the qualities I considered But keyboards have become more important
Beat / Thanks to Meier, the project had a na- important. What I discovered was that intonation of lately. How would you rate the importance
tural connection to the Swiss scene. But the is one of the most fascinating things. I can take a of electronics in your music today?
recordings took place in Berlin. tone and play it just a tiny fraction higher, and it Alessandro / In the past, we had a basic setup.
Tobias / Correct, we recorded at Chez Chérie, a will create an entirely different emotion in me. It Tobias had his violin and the Moog Taurus. I had
big, open studio. It was an exciting time for me. I doesn‘t even have to be mathematically correct. I my drums and the Arturia Micro Brute. Our am-
was able to work with amazing producers and to will also often keep changing a sustained tone in bition was to get the most out of this equipment
get a feeling for Berlin‘s electronic pulse. A year the moment of performance. This allows me to for our songs, particularly in a live setting. This
later, I moved to Berlin myself to discover this minutely sculpt each single note and award it the was also why we recorded our first EP live and
city in more depth. attention it deserves. using very few overdubs only.

32  •  Beat 03 | 2021

 BEATPERSONALITY
Portrait

Swiss duo Egopusher met as part

It feels as though
of a project by Yello‘s Dieter Meier.

we‘ve outgrown the duo

limitations and turned
into a full-fledged band.
There are no limits
regarding the
equipment anymore. «

Beat 03 | 2021  •  33
BEATPERSONALITY
Portrait

There is
a certain
fascination in
small changes. «
Tobias / What has changed since then is
that we are both playing leads now. We‘re no
longer just using the synthesizers as a bass or
an arpeggiator.
Photo: Nuel Schoch

Beat / Did the violin-and-drums-set-up begin

to feel tiresome? the most „exotic“ track on the entire record. The goosebumps during the session. When we had
Tobias / Maybe. We did want to look for more story of how it got made is actually quite inte- reached the end, we looked at each other and
colours. For a while, we would only play synths resting. We wrote it as part of the same session instantly knew that this track would have to be
in our impro-sessions and only allow in the vi- which resulted in „Faint“. on the album.
olin and drums at a later stage.
Alessandro / It feels as though we‘ve outgrown Beat / Which is the nine minute long ambient Beat / There are less tracks on Beyond com-
the duo limitations and turned into a full- piece preceding it on Beyond. pared to your debut. Interestingly, the total
fledged band. There are no limits regarding the Alessandro / Exactly. In a way, „Sheen“ is a length is almost exactly the same. Have you
equipment anymore and we‘ll work on a track remix of „Faint“. At some point, we had the idea become better at working with time?
until we‘re satisfied. of programming a beat to the music and pus- Alessandro / The tracks are more clubby and
hing away the wall of sound using sidechaining. dancable. Wir realised that you can almost sus-
Beat / What are some of your favourite pieces This inspired us to keep working on the track. tain the tension forever if the vibe is exciting
of equipment in the studio? Gradually, we added layer on top of layer, intro- enough. There is a certain fascination in small
Tobias / We‘ll use what we can get our hands on duced a melody and arranged the piece. Most changes. This is what unites club music with
in that moment. When we‘re working with our of it was created with David in his studio. First, minimalism.
producer David Hoffman, we really appreciate we‘d work on our individual laptops using head- Tobias / If you allow the music to just be, it takes
his classic synths, including the Korg MS 20, a phones. Then, we put everything together in on the qualities of a mantra, of a trance. The art
Mini Moog or the Prophet 8. In our own studio, David‘s Pro Tools. lies in waiting for the right moment, to keep pus-
we enjoy playing the Juno 60 from Alessandro‘s hing it back until you arrive at the right turn.
father. And when we‘re on the road, we‘ll use Beat / „Faint“ is a remarkable piece: Nine mi- Then, something as simple as a chord change
soft synths. We‘ve had the Arturia Micro Brute nutes long, pure soundscapes, no beats, but it can feel like a revelation. r
and the Moog Taurus for bass lines since the feels anthemic nonetheless. How did that piece
very beginning and we still cherish them. come about? www.egopusher.com
Alessandro / On our new album Beyond, we Tobias / It was one of those magical moments. www.facebook.com/egopusher
also used the Oberheim SEM a lot. When we dis- What you‘re hearing on the finished album is ex-
covered it in David‘s studio, we were instantly actly what we put to tape in one of our endless
hooked. You can now hear it on almost every improv-sessions. We will often withdraw to a de-
track, either as a lead or for arpeggios. funct restaurant by the name of „Grünenwald“
in the Swiss mountains. It‘s the perfect place to
Beat / Beyond marks a new beginning for you work without being disturbed. It was an extre-
in my opinion. On pieces like „Sheen“ you
sound more urgent, dense and even cinematic
mely hot Summer night, the lights were out in
the restaurant. The only lights were our synths
DISCOGRAPHY:
than ever before. and pedals. And then it just happened.
// Egopusher EP / 2015
Alessandro / Yes, „Sheen“ really opened up an Alessandro / It was truly an incredible ex- // Blood Red / 2017
entirely new world for us. It is without doubt perience. I still remember that I kept getting // Beyond / 2020

34  •  Beat 03 | 2021

Digital culture: AI

Delightfully
inhuman
Anyone who wants can request a song from Av3ry. She has already written around ten thousand songs - and the
number is increasing every day. In addition, she broadcasts a continuous live stream in which hardly ever a beat
is repeated. This work is possible because it is an artificial intelligence that the composer Alexander Schubert
­programmed. His approach differs fundamentally from those of comparable projects: The results are disturbing,
dreamlike and strangely fascinating at the same time - but Av3ry doesn‘t know anything about music at all.
by Tobias Fischer; Photo credit: Pedro Gonzales

Beat / Av3ry, in contrast to many other AIs, has a mode for the audience that allows for personalized that are so idiosyncratic that I feel inspired by them.
more clearly defined personality. On the one hand, interaction, i.e. in which the users were concretely An example: A piece starts with a slight noise. Then
there is the visual representation ... involved. I didn‘t want to use AI in such a way that there is twenty seconds of silence. Then comes a
Alexander Schubert / I developed it with Pedro it is a tool with which I generate material and then I scream. These are, of course, relatively extreme
Gonzales Fernandez. It was originally a kind of go to the studio for half a year and finish the pieces musical decisions and sometimes I imagine what it
alter ego of mine, but I wanted a portrayal that completely. Rather, for me it was about: I want to do would be like if I came into a concert hall and found
was more feminine than I am. Finally we came to something that is emerging at the moment and that people there playing this kind of music live. For me,
a subject that stands for itself, which I understand I no longer have access to. I wanted to pull myself that‘s a positive dream connotation.
as nonbinary. Av3ry‘s personality lies in a gray area out of the process as a person.
between male / female, machine / sensual person. Beat / What does the term “intelligence” mean in
Beat / That‘s why you decided to have a continuous connection with music?
Beat / You can also hear a certain style musically. live stream and an album with ten thousand Alexander Schubert / Perhaps the simplest way to
Alexander Schubert / Yes, Av3ry has a certain tonal tracks? define intelligence is that a system is capable of
language. When I originally programmed it, it was Alexander Schubert / Exactly. The aim here was learning something. With Av3ry, there is a training
much more heterogeneous. Before the album was to make a proof of concept - because it would process. A function tries to optimize a problem,
released, I tried to narrow it down a bit so that Av3ry obviously be impossible for me to edit all of these for example the reproduction of a certain style or
was perceived more clearly as a single entity. The pieces afterwards. the continuation of a certain musical passage. The
exciting thing about it is the form of the agency - higher level creative and intelligent achievement
that is, projecting what you hear onto a subject. Idiosyncratic and inspiring would then be the assessment of the results on
the aesthetic level or the ability to make new
Beat / Why were you attracted to the project of Beat / The music that is created this way is fascina- suggestions on the aesthetic level. However, we are
designing a composing AI? ting. But it also seems very strange. not at that point yet. For this, one would have to
Alexander Schubert / I wanted to create an Alexander Schubert / Many of the decisions Av3ry assume a much more comprehensive conscious-
entity that surprises me and does the things that I makes may be inhuman or radical. For me, too, this ness and a much more detailed description of the
wouldn‘t do in that form. And I wanted to create a is part of the attraction: That decisions come out of it world by an AI.

36  •  Beat 03 | 2021

 BEATCULTURE
Digital culture

Alexander Schubert / In fact, problems can arise

when materials are downloaded from the Internet
and these are recognizable in short sequences.
It has happened in one or two parts that tracks
have been blocked because of this. But often the
elements are so short and mostly changed in such a
way that it is unproblematic.

Beat / In media articles, AI is often seen as competi-

tion to human creativity - mostly out of ignorance,
but sometimes with very good arguments. You are
an artist yourself. How would you describe your
personal perspective on the subject?
Alexander Schubert / This question does not only
arise in the music sector, but in general. AI will
definitely take over simple tasks, in all areas. That
will happen in music too. The underlying question
is how to deal with wages and the welfare state in
The composing AI Av3ry only learns what music is through exchanging ideas with listeners.
the 21st century. Answers must be found to this.
Specifically in the musical area, I can say that some
Beat / You made a conscious decision against pro- possible links. These values are initially chosen easily reproducible forms of music - background
gramming an AI that writes notes on virtual music randomly and then evaluated, favorited, and learned music, elevator music - can definitely be created by
paper. Instead, Av3ry combines existing fragments through user interaction. AIs sooner or later. I don‘t think that‘s a bad thing,
of a database into new pieces. Why this approach? This means that the complete parameter set of because it‘s more about a craft, so it‘s a working off
Alexander Schubert / On the one hand it was the connections and the module parameters reflects of certain processes.
clear that there shouldn‘t be scores because Av3ry the state of the system and in the end a correspon- From a positive point of view, people are relie-
should generate and distribute these pieces itself. ding piece of music comes out. ved here because they no longer have to do things
However, within the system there are actually purely according to the “scheme F” and can concentrate on
sonic, sample-based processes as well as structural, No feeling for Jazz creative and fulfilling activities. For this, there must
event-based processes. This is not a classic notation then be fair payment and social income modes,
with staves or sixteenth notes. But there are stoch- Beat / So in a way Av3ry doesn‘t even know what which do not require that every person carries
astic processes that trigger events and generate music is. out a mechanical activity. Relieving the burden on
something like notes. Alexander Schubert / The system has no idea of people here is an opportunity - we just have to dare
styles, rhythms, or any music theory. It doesn‘t know to understand this freedom as an anti-capitalist
Beat / How does this work in concrete terms? what a time signature is, or that a particular setting possibility. r
Alexander Schubert / You can imagine that the is “Jazz”, or that a particular module is responsible
system consists of a large number of modules for rhythm. Even that is not clear: is not stated at www.av3ry.net
that can all be linked together. So a very modular all, which module is connected to drum sounds or www.facebook.com/Av3ry.Bot
synthesizer, except that the synthesizer not only which module triggers speech samples. A module www.soundcloud.com/av3ry_ai
contains oscillators and control voltages, but also that triggers hi-hat rhythms in one piece can be res- www.audiobulb.bandcamp.com
sound libraries, audio samples and complete songs ponsible for creating a flute melody in the next piece.
from the Internet. The special thing about the sys- The system only knows what it gets as feedback and
tem is that it has absolutely no prescribed stylistics. it will only learn which connections are responsible
That is, there is no original evaluation of which of for what.
these whole links are favored. Rather, this is done
through a process that is optimized and adjusted as Beat / And it learns this through the exchange with
the system works. So the system is able to produce the listeners.
very different things. Alexander Schubert / Depending on what kind of
reaction this piece gets at the end and how this is
Beat / If I got it right, Av3ry uses a database of sound described, the neural network is retrained in order
sources that it pulls from the internet. How does it to take the associated parameters of the system into
create finished compositions from these elements? account in the training process. Quite simply spoken:
Alexander Schubert / Av3ry uses a combination If the parameters are set in such a way that in
of different modules and sources. A large part are the end a piece comes out, which is extremely bad,
stochastic processes or modules that make certain then this parameter combination is not included
functions and transformations possible. Other mo- further or if a certain parameter combination comes
dules, in turn, are able to access instruments, audio out, which is often assigned to the value „loud“, then
files and songs from the Internet. There are maybe 50 the neural network can learn that this combination
modules. And each of these modules has an average represents a „loud“ result.
of maybe 30 parameters. And each of these modules
can send something to the other 50 modules. Each Beat / How about questions of copyright when the
module is determined by its parameters and its program pulls musical data from the net?

Beat 03 | 2021  •  37
WORKBEAT FOCUS:
FULL SOFTWARE
Workshop: Waves Codex

More Info:
Info at: www.waves.com

Plug-in-highlight: Waves Codex License & Password: www.serialcenter.de

Hot competition
for Massive and Serum!
Wicked Dubstep basses, screeching leads, shimmering arpeggios, endlessly evolving pads as well as
­impressively animated textures - all this and much more is possible with Waves Codex. This wavetable
­synthesizer entices you with multi-faceted sound generation including WAV import, accessible operation
and an inspiring arpeggiator. Whether you want to use the imaginatively designed presets or create your own
sounds from scratch: our software highlight of this month is a guarantor for fresh sounds far removed from
analog standards. by Mario Schumacher

Sound generation
Codex offers 64 factory
wavetables and allows you
to import your own WAV
samples. In the formant
mode, you can change the
Wave Scanning resonance of the sound
The core of Codex is formed and also modulate them. In
by two oscillators based addition, the resolution of the
on wavetables. These can wavetable can be modulated.
actually be thought of as a The lower, the more it sounds
kind of table with different like old digital synthesizers.
waveforms per line. In the Both oscillators can be
simplest case, they are played balanced via mix crossfader
back one after the other at and enriched with a sub
a certain speed. But the real oscillator and noise. Thanks
fun starts with the fact that to the ring modulator, as well
the speed can vary and the as the oscillator frequency
playback can move not only modulation, the creation
forward, but also backward. A of aggressive and metallic
3D view gives visual feedback sounds is also possible.
about the waveform and the
current playback position at
any given time.
Filter and ­modulation section
A resonant multimode filter is
available for sound shaping.
With the FM control, you
determine the intensity with
which the filter frequency of
Oscillator 1 is influenced. To
the right of the filter are the
envelopes for controlling the
filter frequency and volume.
The third envelope can be used
for modulations, as can the
four LFOs. Here, LFOs 1 and 2
always oscillate freely, while
numbers 3 and 4 are synchroni-
zed to the host tempo.

Sound enhancement
Arpeggiator/Sequencer: The synthesizer‘s arpeggiator is simple, Codex‘s effects section features a bitcrus-
but nevertheless smart. In addition to the usual up and down her, distortion, delay effect, chorus, reverb
patterns and a random option, the sequencer mode is particularly and an equalizer. The distortion effect can
impressive, allowing you to create basslines and riffs in no time. be placed before or after the filter at the
The step sequencer is also available as a modulation source. touch of a button.

38  •  Beat 03 | 2021

 WORKBEAT
Workshop: Waves Codex

1 2 3
Registration Installation Let‘s go!
To install Codex, you first need a user Here you can download the program If you want to try out Codex‘s patches
account at Waves [1], so create one if you Waves Central, with which the Waves first, it‘s a good idea to show the hidden
don‘t already have one. Click Register New products can be installed and activated. Preset Manager by clicking Load and then
Products and enter the serial number you Select the Codex Wavetable Synth plug-in Preset Browser. You can switch between
received after registering the plug-in through under Install Products and then click Install. patches by clicking on the plug-in‘s arrow
our Serial Center [2]. Then click Downloads on After successful installation, you‘re ready buttons, or by using the vertical arrow keys on
the Waves website. 1 to go! Start your DAW and load Codex as a your computer keyboard. 1
virtual instrument. 1

4 5 6
Init preset Riding the waves Scan tempo
Use the horizontal arrow keys to move to Use the Start knob in the left Scan sec- This causes the wavetable to be traversed
the next or previous preset category. We tion to cycle through the wavetable. The in sync with the host tempo. We set Speed
now want to create a brand new pad sound result is a lively sound progression. In order to to 1, so that cycling through the wavetable lasts
with Codex. To do this, select the Patch Init. have your hands free for playing while trying one bar. Also, activate the Loop function and
Currently, only Oscillator 1 can be heard, as the out the sounds, it is advisable to modulate this now experiment with the Start, Mid and End
Mix Crossfader is in the left position. Below the controller movement. For this reason, activate controls. Start determines from which position
waveform display of Oscillator 1, you can select the Sync function in the Scan section. 1 the wavetable is traversed and End defines the
the wavetable. 1 end point. 1

[1] www.waves.com/account; [2] www.serialcenter.de

Recording FX50
DS5
Solution SRI-2
Fluid Audio offers you a professional recording solution
with everything you need to get started right away with
your next production. The FX50 studio monitors are
perfect for home recording and are great to place on the
DS5 desktop stands. And the SRI-2 audio interface with its
integrated monitor controller is the perfect complement,
so you can focus on what‘s important: your inspiration.

facebook.com/FluidAudioGermany FluidAudio.com
Exclusive Distributor for Germany, Austria and Benelux:
Hyperactive Audiotechnik GmbH – www.hyperactive.de Beat 03 | 2021  •  39
WORKBEAT FOCUS:
FULL SOFTWARE
Workshop: Waves Codex

7 8 9
Sound variations Audio import Ideal sound material
If the Loop function is activated, the range This allows for more interesting sound Sounds that change drastically in a short
between Mid and End is played back in a variations; however, we deactivate the period of time often yield the most
loop (forward / backward). Are you more in the formant mode again to try out the different interesting results. The results are often only
mood for a grainy LoFi sound? Simply reduce wavetables. By the way, for fresh sounds, you remotely reminiscent of the converted audio
the resolution of the oscillator. You can also can import your own audio files. To do this, file, opening up a playground for exploring
influence the formants of the waveform if you click Import and select a WAV file, ideally with new worlds of sound. For short drums, it can
activate the mode of the same name. 1 a length of 1-5 seconds. 1 be useful to play back only a short wavetable
range in the loop. 1

10 11 12
Oscillator 2 Random Progressions Filter
In the same way, you can select a wa- To do this, define LFO 3 as the modu- By combining several modulation
vetable for the second oscillator and lation source and Osc 1 Table as the sources and by cycling through the
modulate the playback position. You can also destination in the matrix, then turn up the wavetables at different tempos, you can create
use one of the LFOs, an envelope or the step modulation intensity fully. For LFO 3, select very complex sound progressions in no time.
sequencer to modulate the wavetable position. the S&H waveform as shown and set Time to Of course, you can tame the very overtone-rich
Or how about selecting a new wavetable ran- 1/8. This randomized modulation is a good sound with the soft filter and modulate the
domly and tempo-synchronously? 1 trick for creating tempo-synchronous progres- filter parameters, for example, with an LFO. 1
sions with a drum loop. 1

13 14 15
Softer sounds Gripping sequences Variety
You can also use the Unison function Save your pad sound if you want to Now you can determine the pitch
and the Chorus and Reverb effects to keep it. How about still trying out for each step of the sequence. Click
soften the sound. For your pad sound, set long the arpeggiator? Set the filter and envelopes the corresponding digit to mute a particular
Attack, Sustain, and Release times for the as shown and activate the Mono playback step. You can also use the step sequencer as a
volume envelope as shown. Modulating the fil- mode. Then, reduce the intensity of the Re- modulation source, for example, to modulate
ter frequency, such as with the corresponding verb effect and select Seq mode in the Arp/ the wavetable position. Have fun exploring
envelope, makes the pad sound even livelier. 1 Seq section. 1 Codex further! r

40  •  Beat 03 | 2021

 WORKBEAT
Power Producer

Find more Cubase

workshops and
video courses at
Power Producer: Cubase www.MeinHomestudio.de

Create vital drum patterns

When producing with virtual drums, the result can sometimes sound a bit Project info
static. In this workshop, you‘ll learn five practical techniques that can make Material: Cubase Pro
your MIDI drum loops sound more varied. You‘ll start with a simple loop of Time required: about 30 minutes
Content: Varying a MIDI drum loop in the Key Editor.
just two bars, which you‘ll expand and bring to life in this workshop. Difficulty: Beginner/Advanced
by Paul Marx

1 2 3
The project More samples Velocity
First, create a new project in tempo 90 BPM. Open the drum loop by double-clicking in Change the velocity within the pattern
Add an instrument track in it with Groove the Key Editor. Additional samples should of a sample to emphasize rhythmic focal
Agent SE and load the preset R&B Kit 01. Then, make the snare sound more interesting. Add 1 - 2 points. At rhythmically unstressed positions,
import the enclosed MIDI loop In The Grid 90 additional sounds on the C#1, D#1 or E1 keys for reduce the velocity to create dynamics. To
BPM into your project by dragging it into the each stroke of the snare drum. Also use additional edit only individual velocities in places with
track with Groove Agent SE while holding down samples for the hi-hat and shaker by distributing multiple samples, you can select individual
the mouse button and releasing it there. 1 the notes on the F1, F#1 and G1 keys. 1 notes before editing. 1

4 5 6
Humanizing Variation Time For a Break
Deactivate the grid with the shortcut J. Often MIDI drums sound static if they have Play other instruments in your project and
Now open the Quantize area in the left too little variation in the arrangement. Close arrange the drum loop variations over
zone of the Key Editor. Enter a value of 8 ticks in the Key Editor and duplicate the MIDI event of several measures. To add impact to more complex
the Loose Quantize field. Now select all the no- your drums twice using the Ctrl + D shortcut. rhythms, you can use rests in the arrangement.
tes in your loop and use the Quantize Shortcut Q Vary the drum loop in the copies by thinning out For example, a full measure of rest in the last
to randomly offset the strokes slightly from each or changing the rhythm on individual samples, for measure of the drum loop creates an effective
other rhythmically. 1 example by adding a break in the second bar. 1 contrast just before the chorus. r

Beat 03 | 2021  • 41

WORKBEAT
Power Producer

Power Producer: NI Maschine+

Nifty automation hack
The Maschine+ has recently become available in stores. The standalone Project info
production system impresses with a great workflow and its inner values. In Material: Native Instruments Maschine+
the third episode of our Maschine workshop, we‘ll show you an automation Time required: 20 minutes
Content: Convenient automation of effect parameters
hack that you‘ve probably never heard of before. by Stefan Hofmann with macro controls.
Difficulty: Advanced

1 2 3
Create a mix bus Select effects Routing like a pro
In our automation hack workshop, we‘ll show Now we have to assign one or more effects Now we need to route all instrument
you how to create a Mix Bus for all groups, to our Master Bus. In our case, we choose groups to our Master Bus. Go to Channel
allowing you to edit each sound simultaneously. an EQ. For example, we can automate the Bell MIDI and select the Output item. Under Audio
First, select an empty group to act as the Master EQ and apply it to the entire session. Click on - Destination you can now select the Master
Bus. You can name it that way, too; however, to Browser + Plug-in and select EQ under Effects. Bus. Now click on each group individually and
route other groups to it, you must first place an By the way, a reverb or stutter effect also looks select the effect bus. Our Master Bus remains
effect on a free pad. 1 very good here. 1 set to Master. 1

4 5 6
Control is better Define macros Manage macros
To check if you have made all settings chan- In our case, we have chosen one EQ. But, of In our case we connected the frequency
ges, there is a simple trick. Now mute the course, you can also switch several effects and gain parameter of the center bark EQ
group that you have designated as the Master one after the other. In order not to get confused, to a macro. If you now press Macro, you will
Bus. Now all instruments should be muted. In you should now connect the most important see all the macro controls and can control them.
order to be able to realize an automation, you controls with a macro. To do this, hold down This way you can easily manage and automate
should now create a new pattern that extends Shift and press the Macro button. Now turn the all effects. Now click Shift and Auto to arm and
over the range that you want to effect. 1 knob of the effect you want to set as a macro. 1 record the automation. r

42 • Beat 03 | 2021
 WORKBEAT
Power Producer

MPC Project data at

bit.ly/BeatDL182

Power Producer: Akai MPC

Hard-House in no time
The fact that MPCs now have a drum synth is no longer new, but the fact that Project info
you can create entertaining Minimal and Hard House recordings with just Material: MPC Live, X, One, Touch, Studio,
one instance is. So, don‘t waste any more time, let‘s get down to business ... ­Renaissance, Force, Software 2.x or MPC Beats
Time required: 1 hour
by Marco Scherer Content: Create an entertaining Minimal and
­Hard-House playback with an instance of DrumSynth.
Difficulty: Advanced

1 2 3
Load DrumSynth Create a loop Program a pattern
Create a new project and load the Drum­ Thus, the conga can be used melodically, Here, we change the velocity of the bars
Synth:Multi. As a starting point, we choose although this quickly becomes arbitrary by slightly and skip a step here and there so
the preset Grimey Reaper, but exchange some hand. So, we limit the SEQUENCE to 1 bar for the that we don‘t make any more drastic changes. To
of the sounds. We turn DRUMSYNTH 2 into a time being, open the step editor and program a thicken the sound, we switch back to PROGRAM
percussion synth with MODEL Conga 8 and sequence. For the beginning we design the four EDIT and set Drum 2 Attack and Flam to 3
connect VELOCITY 2 to 100% with Param 1 bars identically so that no chaos arises. As soon as o‘clock, which makes it sound as if several
(Tune). We turn the latter knob fully up so that we find a good pattern, we go to the variations. 1 congas are being played at the same time. 1
Velocity plays at maximum range. 1

4 5 6
Sounddesign Additional open hi-hat Automation
This creates even more groove. We also We record a typical offbeat rhythm as a Press the button three times to get to
activate Distortion, which makes the sound pattern, but with increasing velocity (that is, the SENDS and activate the Write mode
harder and dirtier. Just let your taste decide increasing pitch). We also add a Kick and Clap to for automation. Select the second DrumSynth
how much. For Drum 4 (an open Hi-Hat) we also the usual positions so that we have a basic beat. channel via Q-LINK switch and record knob
connect VELOCITY 2 to Param 1, this time only In order to keep the SEQUENCE from getting movements for Delay, Diffuser and Reverb. This
at 30% and reduce the intensity of VELOCITY 1 boring, we duplicate its length to 16 bars and allows you to make the 16 bars interesting and
to around 20% so that the volume of the hi-hat switch to MIXER in PROGRAM EDIT. 1 exciting despite minimal instrumentation. r
is less affected. 1

Beat 03 | 2021  • 43

WORKBEAT
Power Producer

Power Producer: Ableton Live 10

Sampling with old-school vibes
Due to technical limitations, early hardware samplers had a very unique Project infos
sound. While this was considered a shortcoming at the time, today these Material: Ableton Live 10 Suite
shortcomings are intentionally incorporated into sound samples to give Time required: 30 minutes
Content: give sampled sounds the old-school sound
them more vibe. In the following workshop, you‘ll learn how we do this of old hardware samplers, dynamic reduction by
in Live. by Maya C. Sternel changing sampling rate and bit depth, re-pitching,
resampling and down-sampling of audio material.
Difficulty: Advanced

1 2 3
Dynamic reduction Decrease bit depth Reduce sample rate
The samplers of the 1980s, like the Akai This effect is very easy to imitate. Load a Furthermore, you can reduce the
S1000, MPC 60 or E-MU SP12, worked with a sample and then place the Redux audio sampling rate. If the Downsample
much lower sample rate and bit depth than we effect in the track. Switch on Bit Reduction and ­parameter is set to 1, every sample is output.
are used today. Instead of the 24 bits that are select a Bit Rate of 12, 8 and then 4 bits as a If you move the slider to a value of 10, only
common today, 8 or 12 bits were used in those test. While you hear a significant reduction in every tenth sample will be played back. Select
days. This had the effect of reducing the mapped dynamics at 12 and 8 bits, digital artifacts take Soft Mode to reduce the sample rate in fine
dynamic range of a sample. 1 over at 4 bits. 1 ­resolution steps and with interpolation. 1

4 5 6
Re-pitching Resampling Downsampling
Since the sampling time of early hard- You can also achieve a characterful sound Alter the pitch of the sample in Simpler
ware samplers was very limited, samples with Resampling: take a sample and load it using Transpose to -12 steps. Freeze the
were often recorded at a faster tempo and, into a Simpler. Load a Saturator into the track. track and select Fix as Audio from the Edit
therefore, higher than the original pitch. Select Waveshaper as the curve type. Set Drive menu. Create a new MIDI track with a Simpler,
You then tune the sample back down to the to 18 dB, the waveshaper intensity, or Depth, to load the sample you just generated into it, and
original speed in Simpler. This method also 30-70% depending on the sound you want, and set Transpose to +12 so that the sample plays
reduces the sampling resolution. 1 Period to a value between 7 and 15%. 1 back at its original pitch. r

44 • Beat 03 | 2021
 WORKBEAT
Power Producer

Power Producer: Apple Logic Pro X

Synth recording made easy
Because there are so many good hardware synthesizers, you‘d naturally Project info
want to record their sounds in Logic Pro and, thus, enhance your music Material: Apple Logic Pro X
­production. How - and how fast - this can be done classically with two Time required: 20 minutes
Content: Integrate sounds and phrases from external
tracks we will outline with the polyrhythmic Moog Subharmicon and MIDI sound generators into a project.
the wave-morphing ASM Hydrasynth synthesizer. Of course, any other Difficulty: Beginner/Advanced
­instrument can be recorded as well. by Mathias Sauer

1 2 3
Create a MIDI track Create an audio track External instrument
To record MIDI notes, first create a new track: The 2nd track is an audio track that records If an audio interface is available, you can
Select external MIDI. Now select a MIDI port. sounds from external devices via an audio skip steps 1 and 2 and create an External
While the Moog Subharmonicon is accessed via interface with a stereo input. In the settings, we Instrument directly. All you have to do is check
a separate MIDI interface, the ASM Hydrasynth is provide more flexibility and uncheck the Input the Use External Plug-in box when creating an
directly accessible via USB. Be careful, the Moog monitoring only when track is selected and only External MIDI track and select the desired audio
interprets incoming MIDI notes in a surprising when input monitoring is enabled (as in Garage- input. Now the MIDI hardware behaves like a
way; it is primarily a sequencer. 1 Band), which can be found in Audio -> General. 1 software instrument. 1

4 5 6
Send MIDI clock Separate editor Post-processing
The Moog Subharmonicon and any other Creatively adjust the sounds to the song: Finally, reverbs are deactivated before
sound generator with an internal sequencer Especially LFO speeds and envelope times recording and later replaced with DAW
should, of course, run tempo-synchronized to of the synthesizer need to be readjusted from ­plug-ins. In principle, longer passages
the Logic project; therefore go to the preferences time to time. In fact, a software editor can be run (8, 16, 32 bars) should be recorded, if possib-
and select the MIDI tab Sync, where you click on parallel to Logic Pro if you don‘t want to tweak le. Annoying „clicks“ when looping the audio
MIDI Sync Settings for Project. It is now suffi- the device directly. Specifically, for the ASM regions can often be quickly ironed out with
cient to specify the destination (MIDI port) and to Hydrasynth, the Hydramorph editor crossfades. The MIDI regions are exported as
activate the clock. 1 is a recommendation. 1 MIDI files for reconstruction purposes. r

Beat 03 | 2021  • 45

WORKBEAT
Power Producer

Power Producer: Studio One

Live with Studio One – Part 2/2
Live performance with a DAW is usually associated with Ableton Live; Project info
­however, Studio One users should listen up because Version 5 offers its Material: Studio One 5
own show page for this very purpose. In part two, we‘ll show you how to Time required: 1 hour
Content: Add external hardware to a live show and
­conveniently control a performance with a controller and integrate external control parameters via a MIDI controller (Part 2/2).
gear. by Marco Scherer Difficulty: Advanced

1 2 3
Studio One show Set up macros Macro layouts
The Live Set is ready, audio tracks and synths We make the assignments of the macros on We stay with the first layout, a mixture of
are loaded (see workshop in previous issue), the Controls page. Here you have the choice eight knobs, faders and buttons. Via the
but if you don‘t play a traditional instrument or between four different layouts, which offer diffe- triangular icon in the upper left corner, we show
sing vocals, you will either have external gear rent combinations of knobs, faders and buttons. the preview. In the table below, you can see the
running for the performance or want to control You can switch these layouts at any time after as- controls on the left and the assignable para-
the integrated synths and effects. That‘s not a signing parameters, and Studio One will transfer meters of the existing players on the right. We
problem for Studio One‘s Show Page. 1 the settings to the new layout as appropriate. 1 use Drag & Drop to move the parameters to the
desired elements. 1

4 5 6
Create an overview Connect controller External instruments
For the sake of clarity, we also color the Now click on the parameter, move the To seamlessly integrate a synthesizer into
knobs and faders, such as red for synthe- ­controller and link it via the triangle icon. If the setup, it must be created as a New
sizers, green for mixing faders and blue for the a controller element is not recognized, click on Instrument in the settings under External
tasks of the buttons. The simpler the better the triangle next to the controller and then on Devices. Select the appropriate MIDI ports and
because, in the hustle of performance, an over- the name of the device. You can add elements channels, enter a name and click OK. The synth
view is the key point. Connecting the macros to a here via MIDI Learn. When all parameters are then appears in the browser under External
MIDI controller is done via the display at the top linked, click Perform to hide the settings. 1 Instruments and can be loaded as a player via
left, just like in song mode. 1 Drag & Drop. r

46 • Beat 03 | 2021
 WORKBEAT
Production-Tricks

Production Tricks: Performing with Effects

Noisy Beats with Live Distortion
Controlling synth parameters like cutoff, resonance or effect parts via Project Info:
a MIDI controller might be the most common method to bring some Material: FabFilter Saturn 2
­excitement into your tracks. And it just feels “live“, but not every sound offers Time Required: 30 Minutes
Content: Perform with effects plug-ins instead of
this feeling. Why not perform with the effects instead, in order to surprise synthesizers to create fresh beats and basslines.
the listeners? by Marco Scherer Difficulty: Advanced

1 2 3
Basic Beat Multiband Distortion MIDI Routing
In our workshop, we‘ll get to grips with a beat In our case, however, the main character is But in order to MIDI signals from a control-
using a dynamic distortion effect, because provided by a multiband distortion effect. ler to the effects plug-in, we have to take a
static beats in particular benefit enormously We use Saturn 2 because, here, the different little detour, because MIDI data usually only goes
from it. In principle, however, the method can be frequency bands can not only be changed, but to the synth plug-in on the track. Create a MIDI
successfully employed for all kinds of sounds, also assigned to MIDI controllers. For starters, track, arm the recording (or monitoring active)
especially basses. As a foundation, we use the we create only a single additional band via the and route the channel to the track with Saturn
Nepheton [1] with a simple groove (see MIDI clip plus icon. We want to modulate the crossover and directly into the plug-in. 1
in the issue data). 1 frequency by hand. 1

4 5 6
MIDI Learn Feedback Performance!
The handling is different for each DAW, so Repeat the process for the DRIVE and Feed- This is where the real fun begins - because
check the manual for how MIDI gets from back FREQ controls of each band. Feedback the permanent change in the feedback
the controller to effect plug-ins if necessary. itself is left static so as not to risk deafening frequency, together with the crossover frequen-
Then arm Saturn‘s MIDI Learn function. The sounds. So we have five parameters in direct, cy, creates fat sounds, especially with drum loops
learning process is simple: click on the desired manual access, so that the distortion can now be and basses. And the best thing about it is that
parameter - in this case, Band 1 Crossover Fre- modulated continuously and live. Sounds simple, the automations can be recorded and specifically
quency - and move a knob on the controller. 1 but it‘s incredibly effective. 1 post-processed, for example, to create breaks,
drops or fill-ins. r

[1] www.d16.pl; [2] www.fabfilter.com Beat 03 | 2021  •  47

 Studio Insights: Ela Minus
Have courage to mute!
Ela Minus’s debut is inspired by creating simple human interactions with technology.
Danny Turner dissects her minimalist approach.

48 •  Beat 03 | 2021

 BEATPERSONALITY
Portrait

A
fter studying jazz drums and music synthesis
at Berklee College of Music, Ela Minus found
her dream job when hired by instrument
manufacturer Critter & Guitari to test, assemble
and design their latest range of synths. Tired of the
modern laptop-driven approach to recording and
live performing, Ela embarked on a mission to bring
back the simplicity and authenticity she felt was
missing from electronic music.
Led by her trusty Akai MPC1000, the producer
focused on building a toolbox of instruments that
could be perfectly replicated on-stage, enabling her
to formulate ideas for future recordings while per-
forming live. Her debut album, fittingly titled Acts of
Rebellion, embodies Ela’s headstrong ideology and
intuitive approach to music-making that conveys
genuine emotional resonance.

Beat / You were originally a drummer and mul-

ti-instrumentalist, so what sparked your interest
in making electronic music?
Ela / I got a scholarship to go to Berklee to learn
jazz drums and music synthesis and while I was
there began thinking I should do something else
with my life other than just play drums. I was very
much a fan of Radiohead and Kraftwerk and loved
electronic music and going to clubs, so I decided
I wanted to learn coding and understand how to
programme software synths.

Beat / Did you get what you wanted from Berklee

or was there too much music theory involved?
Ela / I actually hated it and had a very weird
experience. Out of everyone I met on the course
I was the only one who graduated because they
would get so frustrated and drop out. I was very
young and had never studied before, but that
was a challenge to me and I have this personality
where I like to overcome a challenge, plus I knew
if I dropped out I would have to get a job doing
something outside of music. The music synthesis
course was even more frustrating because it was
completely designed for people that wanted to be
DJs or produce for other people. I just wanted to
learn synthesis.

Beat / You mentioned Kraftwerk who have a very Beat / Can producers learn from Kraftwerk’s Beat / Is modern technology partly to blame for
clinical sound, yet found an emotional connection approach by focusing more on subtracting than leading producers down this path?
to their music? adding? Ela / The introduction of laptops, computers and
Ela / It’s interesting that you find them clinical. I Ela / That’s what I feel! When I’m working, I have overdubbing has a lot to do with it. In the ‘80s, if you
guess they are, but for me it’s about their use of four post-it notes around my monitors that say were making electronic music you had to be able to
melodies and pop song structures. They have ‘mute’. I always find that muting is the key to ever- play and record it live. You couldn’t just write MIDI
certain songs where the melodies live with you ything and you should do it as much as you can. in Ableton, send it to a thousand different synths
forever, and that’s where I get the emotional Before I started on this solo project I was craving to and see which one you liked best. When I started
connection. I resonate with melodies and chords hear artists go back to that simplicity. It’s way harder this project, that’s what I was thinking about the
more than anything, so even though I love techno to do, but what comes out of that is ‘soul’ – you can most – I wanted to make electronic music how they
and colder rhythmic-based genres, I would nor- actually hear the artist. You hear a lot of music that used to do it, as a band with one synth for basslines,
mally never listen to that at home. The moment has this wall of sound coming through you. It’s as if one for chords and one for melodies, and I wanted
Kraftwerk entered my life it was as if someone you’re staring at a landscape that has an aesthetic to play it all live. I only recorded multi-tracks
showed me a combination of those two worlds – appeal but it’s not really saying anything and you because I wanted to get a wider stereo sound, but
really technical electronic music and songwriting can barely hear the person behind it because ever- I didn’t add or edit anything and my sessions are
that had melodies and lyrics. ything’s buried under layers of effects. ridiculously small.

Beat 03 | 2021  •  49
BEATPERSONALITY
Portrait

Beat / Do you think there’s a tendency to over-edit more heart into the music and there’s less showing Ela / I’m not sure because when I’m making the music
simply because the tools are available to do so? off, which is quite common with men who make I’m not thinking about technical things because it’s a
Ela / The more you edit, the more you kill the soul electronic music. very playful and intuitive process. I guess having that
of your music. You can edit anything to be beauti- knowledge spikes in when something goes wrong,
ful if you really spend time with it, but I question Beat / Your fascination for making electronic for example, when playing live. Otherwise, having
why I am making music and what I want to say. music was sparked when someone gave you a that knowledge probably makes me feel closer to
I’ll record something, improvise and listen back to Pocket Piano synth? the machine emotionally, just like when you know
see if I feel something in my stomach. If I don’t feel Ela / It definitely sparked my fascination for hardware someone really well you feel closer to them.
anything I throw it in the garbage, but if I do feel synths. I was frustrated with laptops because I’d spent
something I put my producer hat on and ask what two years coding and programming and my ear would Beat / Does the circuitry of the older synthesisers
it is that is waking up these feelings. Sometimes it’s just recognise laptops. I would go to shows and hear have particular appeal to you?
really specific like a synth line or vocal melody, so the fucking laptop at every show I went to, and before Ela / Yes, they’re very different and have an appeal
I’ll make a decision that everything should serve the Pocket Piano came along I couldn’t find a synth to me. I wish I had more vintage synths but they’re
that because it’s the soul of what I just made. In that was fun or inspiring. I got one for my birthday usually more expensive and it’s hard to get the good
my opinion, that’s when the magic happens and and thought this is the type of synth I want to build. ones. I still don’t think FM synthesis has got better
you don’t have to have rules about editing for since the Yamaha DX7 and DX100 – those are my
the sake of editing. It’s like grooming – your face Beat / After graduation you worked at Critter & favourites. I have the DX100 and the TX7, which is a
is nice so you can accentuate it with makeup but Guitari. How did you get that job and what was cheap module version of the DX7.
you don’t have to plaster your face. I also feel the your role at the company?
same about mixing. People mix as an art form, but Ela / It’s a tiny company – two guys own it and they Beat / What about FM synthesis appeals to you?
there’s no song in there, it’s just an amazing mix. had just one employee and hired me. For the first Ela / It’s so deep and the synthesis is so complex. So
As producers, it’s easy to get confused about what year I was assembling the synths and testing, but much goes into them, but at the same time I really
our job is. we all did everything and they taught me a lot. By don’t like the new ones. I tried the Elektron Digitone
the second year, I was helping them to design and but the machine is so complex that it’s hard to be
Beat / Do you think there’s any difference in how think about new synths – the second synth we made musical with it. I still use the DX100, but only the
male and female producers tackle those aspects of was the Organelle. I knew how to programme pure presets. When those people were using and desig-
production and mixing? data so I was very involved in birthing that synth, ning synthesisers in the ’80s and ’90s, they were
Ela / One of the things we’re missing out on is the testing, assembling and fixing the ones that were thinking of music, songs and bands – it was about
differences between men and woman. Women are broken and shipped back. instant music-making, not sound design.
more emotional and practical; there is less bullshit
[laughs]. Maybe it’s because we’re wired to be Beat / To what extent does understanding what’s Beat / Would you like to build your own synth?
mothers and so our instincts are to survive and be under the hood make it easier to get the most of out Ela / I’ve had many ideas in the past but as I’ve
more sensitive to what really matters. Maybe we put of the technology you’re using? not worked in that industry much lately my brain

50 •  Beat 03 | 2021

 BEATPERSONALITY
Portrait

I record all the MIDI tracks into it and he’s the one

The more you edit,

sending the MIDI to all the other synths. I also love
the sampling aspect of it and obviously use that in
a more traditional way, but I just find that it’s so
musical and intuitive. I love that you don’t have to

the more you kill

make it quantise, so it’s so easy to just play with and
it’s so loyal to what you’re playing on your groove.
I can also load up the next sequence while playing
the one before, so I can play tracks live sequentially.

the soul of your music. «

Most of my music comes from the live shows. I leave
space for very small four or eight-bar sequences and
improvise on top. Usually after a night of playing
live, if I like what I played I’ll save those sequences,
get home and cue them up, and that’s always where
my songs come from.

may be a little rusty. I always wanted to make a Beat / Does the title refer to your rebellious nature? Beat / So you’re effectively formulating ideas for
sequencer with Latin American rhythms – one Ela / That’s the logical conclusion, yes. Acts of new songs while playing live?
that’s as easy to use as a European sequencer like Rebellion was the name of one of the songs, but I Ela / Exactly that. A while ago I got a Squarp
the Elektron Analog Rytm, which I’m absolutely in was very confused about where the title came from. Pyramid sequencer because I’ve been craving
love with, but has more flexibility and subdivisions Even more than my music, my character up until sequencers that have a bigger range of possibilities.
to make different polyrhythms. now has been very rebellious and a lot of things I’ve The Pyramid is amazing but you can’t keep playing
done in my life have been because somebody told it like you can with the MPC, which just makes me
Beat / Acts of Rebellion is your debut album. Did me I couldn’t do them. For example, not using lap- love it more.
you have a strong idea of the type of album you tops – it would be way easier for me to produce that
wanted to make? way but I won’t do it because everybody’s doing it. Beat / Do you ‘play’ your instruments in the tradi-
Ela / Because I improvise so much I try to start with a tional sense of the word?
blank slate and write a couple of intentions, but when Beat / The Akai MPC1000 is the brain of your setup. Ela / I don’t use that many samples so everything is
I was making EPs my idea was just to bring light to the What was the reason behind that choice? synth-based. I play on a keyboard, record the MIDI
people that listen to it. For the album, I’d been touring Ela / I bought it for $100 when I was in Boston into the MPC and send that to the actual synths
for a long time and wanted to make something that because I wanted to fix it and see how it works when I’m recording and playing live, so except for
could be played live in small clubs. Subconsciously, I inside, and it’s never failed me. I mainly use it as a a couple of technical things the sound source is
had all these other themes and little acts of rebellion. MIDI sequencer. That’s why it’s the brain because always the synths and not the samples. For example,

Beat 03 | 2021  •  51
BEATPERSONALITY
Portrait

at the moment I don’t have a polyphonic synthesi- Beat / You’re using some modular gear for effects? Beat / Do you think your setup will inevitably
ser in my live set but do have the Roland Juno-60 Ela / My Eurorack setup is simply a Make Noise change as you move forward and look for different
at home, so I’ll record that into the MPC and those delay, so I’m using guitar pedals for a lot of the ways to expand your musical vocabulary?
sounds are sample-based. effects. It’s really just a Strymon BlueSky Rever- Ela / It’s a question I’ve been asking myself because
berator, which is really cool because it has a I really want to make a second album now. Once
Beat / What’s behind your choice of drums and beats? spring and a shimmer effect. I also found a plugin the record is out I’m going to shut my phone off
Ela / The Elektron Analog Rytm is the only drum from Soundtoys called MicroShift that makes and start working on it. I don’t have any new gear
machine I’ve ever owned and it’s still used for everything sound really wide, especially when I at the moment; I was staring at my synths last week
everything. I download sample packs sometimes record a synth line with a lot of attack through the and thinking about that, but it’s hard to make any
to make new sounds but love the sequencer on spring reverb. decisions before I start writing. For me, the most
the Rytm. As a drummer, I found it was so freeing important thing is the emotion rather than the
– I could program whatever I want into it and every Beat / You seem to rely on a moderate amount of actual writing, so everything else is secondary. In
single step on the sequencer can be adjusted and gear and look to get the most out of it? my mind, I would love to make a completely dif-
automated which makes it sound extremely musi- Ela / When I started this project I only had the ferent album with the same machines. That would
cal. All my beats are extremely simple. I’m always MPC, Analog Rytm, Pocket Piano and the Moog feel like an accomplishment because I’m the one
thinking about the least I can do with a beat and Minitaur. The Minitaur is important to mention making the music so it’s not about the gear.
like to create something really minimal with just the because all of my bass comes out of it. Then Moog
kick, snare and hi-hat. Even though the Rytm is not gave me the Sirin as I was asking them like crazy Beat / Do you think there will be a time when you
a sample-based machine, you can add samples and to make something like the Minitaur for higher embrace software, simply out of curiosity?
it’s a synthesiser. I love the one-note-per-function octaves. Because they’re analogue and have the Ela / There will be a day, but I don’t know if I want to
thing – the machine is designed to have one synth same engine I feel they go well together and that do that by myself. I think there will be a point where
machine for kicks, a different one for snares and was the key for this album because it made things it will be interesting to collaborate with people I like
another for hi-hats. I find that if I hear a kick I can even simpler. I was essentially sending the same who can teach me about software. I already learn
make it with the synthesis because I have everything line to both of them and able to double up in so much from talking to certain musicians that I
at my disposal to make the sound I want. different octaves. meet at shows. I really don’t want to be known as

52 •  Beat 03 | 2021

 BEATPERSONALITY
Portrait

Beat / You have some tour dates pencilled in for

February. Are you optimistic about playing live
again soon?
Ela / I’m optimistic that the industry will get back
onto its feet, but I really do hope that it’s not going to
go back to normal. My touring schedule has been so
intense that I honestly think I’ve gained five years of
my life by not touring for a year. If there’s one thing I
hope we’ll learn from this it’s that things can change
at any moment.

Beat / Have you seen anything change in the music

industry that you’d like to stay permanent?
Ela / The concept of touring for three years in a row
is insane – it’s why all the musicians get depressed
and become drug addicts. If more people spent
time in the studio, better recordings would come
out that have the potential to make as much money
as mainstream music. Maybe having the luxury of
spending six months in the studio would give artists
like us a chance to compete and the definition of
a hardware synth artist, I want to be known as an phones off then what we have left is utopia because mainstream music would be broader.
artist – period. Again, it’s about using whatever nobody is selling us anything or mediating. So I
serves the music best. wanted to say, let them have the internet and we Beat / So you intend to adapt your live strategy?
can have real life. Ela / I’d love to play smaller shows. When you play
Beat / When do the lyrics enter your compositions? festivals the sound is so huge and the PA is so far
Ela / As mentioned, I’ll usually start improvising Beat / Would you say that the track Tony is also away that you can’t even feel the music. If you’re
out of the loops I come home with after playing live. about how technology interferes with our human- wearing in-ears you might as well be in your studio
Then in the studio I’ll start playing as if I was playing to-human interactions? with headphones! I’m a very physical performer
live and make a stereo out to keep a recording of it. Ela / I clearly love the concept of technology, but I’m and the interaction with the audience changes
Sometimes, I’ll hear a melody in my head and start against the way we’re using it. I read a book called when I’m able to look people in the eye and react to
singing whatever I’m hearing, and I’ll try to keep What Technology Wants and remember how it made them. I also think everyone has a better time when
that even if it’s silly. me think about how humans have been obsessed with that happens.
human relationships and socialising since forever.
Beat / Do you keep it because you want to preserve Gossiping is a big part of human evolution. What I
your intuition? don’t really like is how we’re using all of this techno-
Ela / I’m trying to be as honest as I possibly can. logy in order to socialise. We’re obsessed with getting Ela Minus’s debut album Acts of Rebellion
The more you think about things, the more the ego ‘friends’ when that should be done in our physical life, is out now on Domino Recordings. For more
gets involved, so I try to make the process really so it’s a bit annoying that we’re guinea pigs to that. information, visit facebook.com/elaminus.
fast and commit to initial ideas whether my ego
is saying something is good or a stupid sentence.
With the lyrics, I usually take that first phrase, word
or sentence and start repeating it and improvising
from that. It doesn’t always work, but it helps me
work on the form of the song and then I’ll sit down
and write the rest based on those initial ideas or
whatever I think I meant.

Beat / What’s the meaning behind the track title

Let them have the internet?
Ela’s Go-To Gear
Ela / Like many of us, we’ve gone through stages • Yamaha DX100 / “I love the sound of this having the same synth available in higher ­octaves
of love and hate with the internet. It was amazing 1985 FM synth. It’s extremely limited, which so I could use it for melodies too. The Sirin is
before it started to become this big thing and I I like, and I always seem to find a sound that ­literally a dream come true.”
remember reading books by MIT coders explaining fits perfectly.” • OTO Biscuit / “This is such an interesting machi-
how it came to be and how the cyberpunks dreamed • Roland Juno-60 / “It’s the only ‘real-size’ syn- ne because it adds so much depth to everything. I
of the internet being a utopia, free of capitalism. th I own. Even though it has a very recognisab- love detuning synths, bit-crushing drum machines
Now what we have is the complete opposite. Ever- le sound it’s very flexible once you get to know and using the filter for… everything!”
ything we do is mediated by corporations including it. I essentially live in a cloud with an arp from • Elektron Analog Rytm / “I love this drum
our bank accounts and communications – the the Juno.” ­machine. The combination of analogue
definition of a capitalist society. At first, I thought • Moog Sirin / “The Moog Minitaur has been my ­synthesis, a sampler and a sequencer that is so
this fucking sucks, but it’s also kind of nice because bass synth for years but I always dreamed of musical is great.”
everything is on the internet and if we turn our cell

Beat 03 | 2021  •  53
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SOFTBEAT
New Freeware

New Freeware Plug-ins by Jan Wilking

MUST-HAVE
TDR Focusrite/sonible Matt Tytel 03/2021

Molotok Balancer Vital

Vladislav Goncharov is the creator of some of the Balancer was developed in a joint effort by Focusrite Matt Tytel might already be known to some readers for
best freeware effects, including the popular Vlad and sonible. This effect plug-in aims to automati- his popular freeware synthesizer HELM. With Vital,
Molot compressor. Tokyo Dawn Records, equally cally correct and balance the frequency spectrum of he explores the very popular wavetable synthesis.
known for high-quality dynamic effects, has taken an audio track in seconds. At the heart of Balancer is This plug-in is very extensively equipped. Even
on this almost ten-year-old plug-in and is revising sonible‘s smart:engine, which is also at work behind the interface makes a tidy and professional impres-
and releasing it in a paid Gentleman Edition with smart:comp, smart:EQ 2 and smart:EQ live. You sion. The oscillators are indeed limited to waveta-
an incredible range of functions for pretty much simply insert the Balancer plug-in as an effect on bles, but offer interesting additional functions. In
all conceivable applications of a compressor. You the audio track you want to process. Then, start the addition to cycling through the wavetables, there
can also download the free slimmed-down version track and click the big Learn button. The plug-in are spectral effects and shape warping tools inclu-
called TDR Molotok from the website. This is still analyzes the incoming audio for a few seconds, ding classics like FM, vocoder, distortion and for-
impressive, even for a freeware plug-in. gathering detailed information about the material mant and even some wackier variants. Here, you
The name already describes the plug-in very as it goes. can bend the harmonics at will. The waveforms are
well: Molotok means small hammer, and indeed Artificial Intelligence-based algorithms then displayed graphically in real time, so you can track
Molotok has comparable punch. In the old Fairchild detect and automatically correct any imperfec- the changes directly. Of course, the modulations
manner, this compressor can neatly color the input tions in the audio signal ( for example, spectral ba- can also be automated, several envelopes and LFO
signal and is, therefore, recommended primarily lance). You can choose between different profiles are available for this. The assignment is done clas-
for creative effects use and less for subtle dynamic such as Universal, Vocals or Drums, which optimi- sically via a modulation matrix or via Drag & Drop,
range restrictions. Particularly on drums, whether ze the plug-in for different source signals and al- as we will explain in more detail in the workshop.
for processing individual instruments or for glueing low the system to work even more precisely. After The LFOs can also work polyphonically and with
on the group track, this plug-in is our first choice. all, if the smart:engine knows what type of instru- time offset for exciting stereo effects. Resynthesis
Its operation is very easy to understand, as the ment or voice is being processed, the analysis can and text-to-wavetable are additional features of the
controls are limited to the familiar parameters of a be adapted even better to the input signal. The ba- oscillators, which are followed by a subtractive sig-
compressor, such as Threshold, Ratio, Attack and sic sound can be switched between warm, neutral nal path with filter emulations and an extensive ef-
Release. With the Alpha Sigma control, you can and bright, and the intensity of the processing is ad- fects section.
easily adjust the transient processing. justed via a fader.
Verdict
Verdict Verdict Vital is an extremely potent wavetable synthesizer
TDR Molotok rocks, because the plug-in compresses Balancer is a useful little helper for quickly and that offers very complex sound possibilities with
with powerful sound coloring and rich sound! easily adjusting and balancing the frequency spec- extensive options for overtone processing - even in
Subtle and transparent dynamics processing are not trum of an audio track. The results were almost the free basic version. Nevertheless, its operation is
its strengths, but it brings every instrument unmis- always impressive in practice and usually improved very easy to learn and numerous well thought-out
takably forward and recommends itself - especially the sound image significantly. Its operation is intui- functions make the creation of unqiue sounds
on single drum tracks. A great creative tool! tive and does not require any learning curve. child‘s play.

Developer: TDR Developer: Focusrite/sonible Developer: Matt Tytel

Web: tokyodawn.net Web: sonible.com Web: vital.audio
Price: Freeware Price: Freeware Price: Freeware
Format: VST, AU, AAX Format: VST, AU, AAX Format: VST, AU, LV2
Rating: Rating: Rating:

56 •  Beat 03 | 2021

 SOFTBEAT
THE MONTHLY New Freeware

GIVE-AWAYS
1 2
LFO Modulation Wavetable
The plug-in starts with an Init preset; Go to the Voice tab. At Osc1, a graphic
otherwise, you can also select Initialize shows the currently selected wavetable,
Preset from the menu. Click on LFO1. Switch which is modulated by Lfo1 as determined in

PreSonus
to the Matrix tab at the top of the plug-in Step1 - this is indicated by the small round
and select Lfo1 as the Source and Osc1 slider and can also be adjusted there directly.
WaveFrame as the Destination. Set the
Amount slider to about 210 and the Frequency
But since you can‘t hear this with the Init
waveform, select another wavetable. To do
Sphere
of LFO1 to 1/1, so that it runs in sync with the this, click on Init at the top or switch it on
tempo of each keystroke. 1 using the arrow button. 1

NI
Maschine+

Audiaire
Zone

3 4
Classic Blend Unison
Feel free to try out different wavetables For a wider stereo sound, we use the
to hear which sound spectrum you can Unison function to the right: Select
cycle through in each case. For our example,
choose a rather simple wavetable called
2v for 2 voices and a detuning of 7%. The
checkbox below gives options for further UVI
Classic Blend, where the LFO crossfades processing of the spectrum. Select Inharmo- Vintage
between the classic triangle, sawtooth and
variable pulse waveforms. Increase the decay
nic and set the Spectral Morph slider above
it to 76% to get an overtone-rich belly and Vault 3
time of the sound with ENV1‘s Release control clear ice pad. 1 Elite
on the right. 1 Acoustics
StompMix x4

AudioRealism
ABL3

NI
Maschine+

5 6
Filter Envelope modulation
Activate by clicking on the round dot The LFOs and other modulation
in the upper left corner of the FILTER1 sources also have such crosshairs,
field. The filter sequence is to be modulated which all you to save the same way from WIN EVERY MONTH!
by the second envelope ENV2. Select the Step 1 via the modulation matrix. Use the
ENV2 tab at the top right. When you hover knob to turn the modulation to 65% and
over this field with the mouse pointer, a
crosshair appears - drag it onto the filter
extend the attack phase of the envelope
by setting the Attack knob to about 0.8
PARTICIPATE ONLINE AT
module. The slider will appear that you will
use to set the strength of the modulation. 1
sec. Adjust Decay, Sustain and Release as
shown in the screenshot. r
WWW.BEAT.DE/GIVEAWAYS
Terms:
Participation from 18 years of age. New ­pro-
ducts are raffled every month. The winners
will be announced on the competition website
and notified by e-mail. Beat XX | 2020  •  57
SOFTBEAT
Synths & Software

New synths & software by Mario Schumacher

Interview:
Boris Salchow, Producer and
Sound Designer for STRIIIINGS.
Beat / How did the idea for STRIIIINGS come
about?
MUST-HAVE Boris / The basic idea for STRIIIINGS was born
UJAM 03/2021 about six years ago over a red wine with UJAM

STRIIIINGS
UJAM‘s latest virtual instrument specializes in
founder Peter Gorges, who was also involved in
the development from start to finish. We wan-
ted to take the principle behind UJAM‘s other
modern string ensemble textures and sound design virtual instruments and apply it to „symphonic”
elements and was created in collaboration with instruments; to give users who find the stan- contrast to the classical live orchestra - to cre-
Hans Zimmer. STRIIIINGS comes with hundreds dard orchestral libraries too elaborate a little ate more and more new timbres. Large sections,
of presets, including arpeggios, riffs, motifs, ostina- „Wow, I almost feel like Hans Zimmer“ expe- chamber instrumentations, in addition to some
tos, sustain patches, as well as a wide range of pads, rience. I would never have believed that Hans solo instruments, can all be found in the STRI-
textures and exciting hybrid sounds. One patch fea- would get involved in revealing so much of „his IIINGS engine room.
tures the two Low and High Strings engines, which treasure“, but he was quite relaxed about it - that
can be individually edited and animated. might be because Peter and he have been fri- Beat / What makes this virtual instrument
There are 60 different styles offered, each with ends for a long time and there is a certain trust special?
six phrases and four additions. Authentic phra- there. In any case, our vision was a virtual instru- Boris / STRIIIINGS is actually two virtual inst-
ses are automatically created from played notes or ment that would allow a music producer to pull ruments in one: at its core, it‘s a phrase-based
chords, and you can also play the bass note your- an orchestral accompaniment out of a hat in no instrument similar to UJAM‘s Virtual Guitarists
self if desired. With the modulation wheel, you time flat, and be able to arrange and play it live and Bassists. In terms of content, however, we
control a decrescendo and with the pitch wheel on a keyboard. have put a focus on contemporary productions,
you crossfade between the low and high strings. such as game and film scoring, where in rea-
The refinement and alienation of the sounds is a Beat / What did the recording and production lity there is often quite a bit of trickery and you
breeze with the multi-effect Finisher, the Filter as process look like in concrete terms? rarely hear anything that can be played one-to-
well as the Reverb effect. Boris / It was a dream come true for us to be one by an ensemble anymore. And, of course,
able to use Hans Zimmer‘s legendary library for STRIIIINGS should also have something new to
Verdict this product, and to do so in his „remote cont- offer in music genres like EDM, Hip-Hop or even
STRIIIINGS offers much more than just excellent rol“ studio and with the support of people who mainstream Pop.
sounding string phrases. Rather, this virtual ins- work with this orchestra day in and day out. With STRIIIINGS, there‘s a lot more going
trument shines with expressive recordings of a Constantly expanded for over ten years and very on under the hood than meets the eye - in
symphony orchestra that you can conduct with personally tailored to Hans, this library and its some presets, up to eight full ensembles are
your own playing. Even users who have no previ- predecessor have ultimately defined the sound playing simultaneously. Of course, the user
ous experience in arranging strings can achieve of Hollywood for decades. doesn‘t notice the complexity and can, there-
very impressive and lively arrangements with this We polished complex arrangements with fore, focus on getting a juicy, larger-than-life
plug-in. Thanks to the expressive sound design Hans‘ own orchestral library, „prepared them sound „on the ears“. If the pure sound gene-
options, this inspiring composition tool not only accordingly“ - trade secret (laughs) - and then ration still doesn‘t go far enough, you can let
makes a good impression in modern film, game and exported the result. One of my main tasks was off some steam with wacky sound design. For
trailer music; it also brings a breath of fresh air to the to write an arsenal of both common and spe- this purpose, we‘ve included several extensive
world of orchestral libraries. cial string arrangements and implement them multi-effect sections, plus a special edition of
with the Hans Zimmer library. This was fol- UJAM‘s ingenious Finisher effect in the mas-
lowed by a rather complex process of further ter bus. With these components, STRIIIINGS
processing and integration into the instrument becomes a fantastic and creative sound design
framework, which was developed from scratch. tool. Beautiful pads, distorted loops, synth-like
Since we wanted to achieve a contemporary patterns and much more offer a variety of
Developer: UJAM sound, we took a new and different approach. „unheard of“ new sounds - all based on expen-
Web: www.ujam.com We looked at today‘s compositions and realized sive and organic sounding string recordings.
Price: 169 Euro what is actually „allowed“. A wide variety of sec-
Format: VST2, AU, AAX tions and instruments are combined today - in www.ujam.com
Rating:

58 • Beat 03 | 2021
 SOFTBEAT
Review

Review: TAL J-8

The Swiss company TAL has introduced one of the best Juno-60 emulations on the market with the U-NO LX.
Now, head developer Patrick Kunz dares to tackle the Roland classic par excellence. by Jan Wilking

T Features
AL J-8 already lets you know from the
striking color scheme of the switches
Jupiter 8 Emulation
that the Jupiter-8 served as a model
here. Unlike Roland and Arturia, who Up to 12 Voices
have just presented revised versions of Unison
their replicas, this plug-in does without Split/Layer
a photorealistic interface, which makes
MPE Support
it easier to use.
The sound generation has been VST, VST3, AU, AAX
taken from the original, but some useful USB 2, Native Apple M1
functions have been added. Two oscilla- Support
tors with the standard sawtooth, triangle Win, Mac, Linux
and square waveforms, as well as noise
serve as the basis. Sync, PWM and Cross
Via Service Control, the tuning, filter and envelope of each of the 8 voices can be adjusted individually,
Modulation expand the sound spec- which makes for a more lively sound, especially when playing polyphonically.
trum, whereby many plug-ins struggle
with the latter and make the modulation MPE, Layer, Unison the tempo, there is, of course, also the
sound too harsh and digital in the audio At the bottom of the J-8 is where the extras obligatory Roland chorus. It seems to be
range. Roland has always been far ahead have been placed. As with the original, the taken from the popular U-no LX or the
with its emulation in this respect, Arturia plug-in can generate two different sounds associated freeware Chorus-LX effect and
has currently improved in version 4 and at the same time and then control them sounds correspondingly fat. While this
TAL does not let itself down either. The via the keyboard, either layered on top is almost always suitable for the rather
crossmodulation sounds pleasantly of each other or separately with a split simple sound generation of the Juno- Facts
analog and organic and can be used in point. Using a button, you can select 60, the chorus seemed to us to be too Developer: TAL
a nuanced way. which sound you are currently editing powerful for some of the more complex Web: tal-software.com
Two envelopes and an LFO are avai- via the controls. Load, Copy and Paste Jupiter sounds. Here we missed a Dry/Wet Reference: Website
Price: 62 Euro
lable for modulation, which, unlike the make it easy to assemble matching dual control for better dosage. In the current
original, can also be synchronized to the sounds. J-8 also offers MPE support for version, the chorus can only be switched J Authentic Sound
song tempo. We were somewhat irritated multi-dimensional controllers, and the in the three known modulation stages or J Clear GUI
in the first version that the oscillators do strength of the modulation of filter and deactivated completely. In the master set- J Stereo Unison
not run freely like in the original. This volume can be adjusted separately. tings, you have access to portamento and J MPE Support
J Useful Extras
was clearly audible when both oscillators The unison mode shows itself to be performance aids like the arpeggiator.
J Calibratable
were tuned identically and mixed in the more flexible than the original. You have
same ratio. With the original, due to the access to the number of layered voices, Verdict Sound:
different phases, each newly played note the detuning among each other, as well as Patrick Kunz has analyzed his Jupiter-8 Operation:
sounds slightly different, which provides the distribution in the stereo panorama, in great detail and, with the J-8, presents Price/Perf:
the „analog“ liveliness, while with the since the signal path behind it is completely a very successful emulation with well Total:
TAL it is statically phase-locked. Howe- designed in stereo. A total of four controls thought-out extras at a more than fair
ver, the developer has already improved are available for „calibration“. Due to the to- price! This excellent sounding plug-in
it with a phasedrift function so that this lerances of analog components, no Jupiter-8 plays on the same sonic level as the com-
unwanted effect no longer occurs. sounds exactly like the other, which is why petition from Arturia and Roland and is,
This is followed by the simple you can individually adjust the behavior of therefore, a favorable alternative for those
high-pass filter for thinning out low the oscillators, filter drive, resonance (up who do not want to invest in the Roland
frequencies and the low-pass filter to self-oscillation), as well as envelopes. So Cloud or the V-Collection and still do not
in the best Roland manner: Creamy, the oscillators can sound duller and warmer want to do without the Roland classic. r Alternatives
smooth, transparent - it contributes to or brighter and more transparent, the Roland Jupiter-8
the defining 80s sound. It is switchable resonance more cutting or more restrained. $149 USD Lifetime-Key
between 12dB and 24dB slope, although From 9.99 Euro Cloud Sub
the intermediate value of 18dB was Built-in Effects roland.com
omitted. On the other hand, it can be Effects have also been integrated. In ad- Arturia Jup-8 V4
modulated by velocity on demand, just dition to a delay with various adjustable 199 Euro
like the amplifier. parameters that can be synchronized to arturia.com

Beat 03 | 2021  •  59
SOFTBEAT
Review

Review: Arturia V Collection 8

Arturia has expanded its collection of virtual replicas of vintage classics to a whopping 28 instruments and has also
made sonic improvements. by Jan Wilking

Features
Software Bundle with 28
Instruments
4 New Instruments
Juno-6, Emulator II, OB-Xa,
Vocoder,
Sound Browser with over
10.000 Presets
Format: Standalone, VST/
VST3/AAX/AU/NKS
From Windows 7 (64-Bit)
and Mac OS 10.11
Copy Protection: Online
Registration via Software
Center

Facts
Developer: Arturia
Web: arturia.com
Distribution: tomeso.de
Price: 499 Euro
(Upgrade 199 Euro)
J Creative Vocoder
J Sound of R­ oland
Emulations
J Sampler with C ­ ult Our personal favorite among the new instruments is the creative Vocoder V with pitch tracking and a built-in sample player.
Character
J Macro Controller

I
J Unified Browser n addition to the two analog classics voices, another envelope and LFO, as Emulator II
J Very Good Presets OB-Xa (review in BEAT 08-2020) and well as delay, sensibly expand the sound For fans of 80s Synthpop, the Emulator II
J Improved Analog Lab Juno-6, Arturia‘s V Collection 8 features spectrum without making the synthe- needs little introduction. Depeche Mode,
n Internal Carrier Only another sampler in the form of the E-mu sizer confusing. JUN-6V also impresses in particular, explored the possibilities
(Vocoder) Emulator II, as well as a 16-channel sonically; in this respect, Arturia‘s TAE
Sound: vocoder with exciting extras as a useful True Analog Emulation has made consi-
Operation: addition to the collection. The Jupiter-8 derable progress. This can also be heard
Price/Perf: replica has been sonically improved in the revised Jupiter8 clone Jup-8 V4,
Total: and, across the board, there are now which sounds much more convincing
four freely assignable macro controls for than the previous version, especially in
quick access to the most important sound such sensitive areas as crossmodulation.
Alternatives parameters as well as integrated tutorials. We even liked Jun-6V a tad better than
the previous top dog TAL U-NO LX,
Steinberg Absolute 4
426 Euro Roland Juno-6 which was already extremely close to the
steinberg.de The Jun-6 V is based on the Roland Juno-6 original in a direct comparison.
from 1982. The original enjoys great
Roland Zenology Analog
Icons popularity because the sound genera-
$499 US Dollars (or Cloud tion can reproduce many classic analog
Subscription) sounds in impressive quality despite the
rolandcloud.com simple design and is, therefore, suitable
NI Komplete 13 for both beginners and professionals.
From 589 Euro Arturia has done it right and left the
native-instruments.com proven concept almost unchanged. More

60 • Beat 03 | 2021
 SOFTBEAT
Review

Arturia in vocoder fever: Not only does MIcroFreak has one,

but now so does the V Collection.

16-Channel Vocoder
The Vocoder-V is based on the Moog Vocoder from
1979, whose current reissue (at a new price of over
6,000 Euro) is probably a viable alternative for very

The Analog Emulations few people. As a special feature, the 16-channel

vocoder offers the option of freely linking the
frequencies of the analysis and synthesis bands. In

have reached a new level conjunction with the individual volume faders for
each channel, this allows modulations that are not
possible with other vocoders. The result can also be

of quality with the Jun-6 V frozen and then played via the keyboard.
Unlike the original, the Vocoder-V has a
built-in carrier in the form of a simple but adequate

and Jup-8 V4. « synthesizer with two oscillators, including chord

mode and ensemble effect. Unfortunately, there is
no option to use an external carrier and thus, for
example, combine your voice with an analog pad
or a string sample, or to experiment with completely
different sound sources. On the modulator side,
of this sampling keyboard extensively during their Vocoder-V is more flexible. If your DAW allows
Berlin phase in the mid-80s. After CMI-V and routing into an instrument plug-in (there is no
Synclavier-V, Arturia presents us the third cult pure effect variant of Vocoder-V), you can loop in
sampler in its collection, which was unaffordable any audio signal like voice or drum loop.
for mere mortals at the time. Here, too, sensible Useful functions like compressor and EQ have
enhancements were made under the photo-reali- been integrated, as have envelope follower and
stic surface. More controls for direct access, as well pitch tracking, to make the built-in synthesizer
as extensive sampling options after clicking on the sing. Alternatively, you can use the sample player
OB-Xa V: No collection is complete without Oberheim. Apple monitor, offer plenty of creative possibilities. and drag any samples onto 12 slots, which are then
But it‘s also fun to just play the integrated factory fired off via the keyboard. This way you can, for
samples of the original, because you‘ll encounter example, „power up“ individual passages of a vocal
many familiar sounds - like the infamous shak- line or create fancy science fiction FX.
uhachi from Peter Gabriel‘s Sledgehammer and
various Enigma hits. You can also load your own Verdict
samples, as well as other original sounds, in EII The step to V8 is more than justified. The analog
format. Sonically, the whole thing has the same emulations have reached a new level of quality with
retro charm as the CMI-V, but impresses with the Jun-6 V and the Jup-8 V4 and have, therefore,
Jup-8 V 4: The Jupiter is one of the greatest classics ever.
easier operation and is, therefore, a useful addition arrived in the upper class. Also the operation,
to the V-Collection. which was always impressive anyway, has been
further improved. With the Emulator II you get a
sampler with cult sound and accessible interface.
The highlight in our view is the
Vocoder-V, which is impressive
with a very good basic sound
and offers independent creative
possibilities that set it apart from
Jun-6 V: Offers significantly more features than the original. More Info the competition. r

Beat 03 | 2021  •  61
SOFTBEAT
Review

Duel: NI Guitar Rig 6 Pro.

IK Multimedia Amplitube 5 MAX
The new versions of the virtual guitar and bass studios AmpliTube and Guitar Rig
have been released just a few weeks apart. That’s reason enough to let the two plug-
ins compete against each other in a comparison test! by Mario Schumacher

A
Guitar Rig 6 s similar as Native Instruments
Guitar Rig 6 and AmpliTube may
Virtual guitar and bass
Studio seem at first glance, the two amp
simulations are very different in detail.
21 amps, 27 cabinets, 16
While AmpliTube aims to recreate the
microphones
sound of the most popular hardware
68 effects and tools amps, speakers and effects as authenti-
Convenient browser cally as possible, the competition from
Three new amps Native Instruments presents itself as a
flexible combination of amp simulation
Many new effects
and multi-effects rack.
Multiband- & M/S-Module
Large preset selection Guitar Rig 6 Pro
VST, AU, AAX, standalone
In the long-awaited Version 6, Guitar Rig
is cleaner and more intuitive. With a new,
Windows & macOS: 64 Bit
scalable interface and many detail im-
provements, such as a new browser, this
The highlight for guitarists and bassists are, of course, the three new amp models in
software takes a big step forward. Creating Guitar Rig 6 Pro, which sound even more authentic and nuanced.
complex effect chains is quick and easy, More Info

and unlike AmpliTube, Guitar Rig even

allows you to connect several amplifiers from undistorted sounds to high-gain Chorus, Phaser and Flanger from the
and speakers in series. The new Macro attacks. It‘s a shame that there are only very popular Mod Pack. With the Reverb
module allows you to assign different three new amp models, at least so far, Classics, two very successful Lexicon
effect parameters to up to 16 knobs. This because Native Instruments plans to add replicas also find their way into this soft-
way, very impressive sound variations can new hardware emulations to the software ware. The three emulations of legendary
Facts be created with just one hand movement in regular updates. There have also been compressors, the Transient Master and
Developer: Native (or via MIDI controller). You don‘t always optimizations on the cabinet front: the tools of the Solid Mix Series are a
Instruments feel like creating completely new effect Matched Cabinet Pro offers improved real enhancement to give sounds that
Web: www.nativeinstru- chains. And you don‘t have to because speaker sound for all models thanks to final polish. In detail, these are a 6-band
ments.com
Guitar Rig 6 Pro comes with more inspira- new impulse responses. Furthermore, equalizer, a dynamics processor with
Price: 199 Euro
tional presets than ever before, including there is now an expanded version of the compressor, as well as gate/expander and
J Improved sound some created by well-known musicians. time-tested Control Room, in which you a bus compressor. Fans of spacey sounds
J Huge creative potential All of the plug-in‘s presets offer ready-ma- can create eight custom setups from an will appreciate the multi-faceted reverb
J Excellent new de mappings. arsenal of 27 cabinets, up to 16 mics and module Raum, the pitch-shifting reverb
amps
J Great creative effects three mic positions. Replika Shimmer and the flexible delay
J Modulation options New amps and cabinets effect Replika GR. The well-known filter/
J Enormous flexibility The new Chicago amp recreates a 1950s Sound design tools distortion combination called Driver also
J Multifaceted presets Fender amp that excels at clean sounds With 16 outstanding new effects, Guitar invites you to sound experiments.
J Very efficient operation and warm tube tones. Fans of low tones, Rig 6 Pro builds on its strengths as a fle-
n Only three new amps on the other hand, will be delighted with xible multi-effect. Those who are familiar
n Loading impulse respon- Bass Invader, which simulates a Gallien with Native Instruments‘ effect plug-ins
ses not possible
Krueger amp from the 1980s that was will immediately find their way around
n No Undo/Redo
particularly popular for Rock. The third the new additions: The Crush Pack comes
Sound: new model is called Fire Breather, which up with three tools for creative sound
Operation: is inspired by Marshall and Friedman destruction, namely Frequency Shifter,
Price/Perf: amps, and also sounds very powerful. The Bitcrusher, and Distortion. Also on board
Total: spectrum of this universal amp ranges are the three classic modulation effects

62 • Beat 03 | 2021
 SOFTBEAT
Review

Guitar Rig 6 Pro: Verdict ani and Dimebag Darrell (Pantera). The the innovative IR technology „VIR“ AmpliTube 5
With its authentic recreations of le- signal path in the software is now drag- has been implemented. For a realistic Virtual guitar and bass
gendary hardware amps, speakers and and-drop customizable and even more sound, up to 2400 impulse responses studio
effects, this virtual guitar and bass studio flexibly configurable: In addition to mono have been created for each of the 100 Redesigned user interface
is ready for any style of music imaginab- and stereo configurations, rigs with three cabinets using an automatic, robotic
Over 400 amps, cabinets,
le. The three new amp models sound amplifiers, as well as serial and parallel process. If you wish, you can even repla-
microphones and effects
even more authentic and nuanced; and routings are possible. Or how about ad- ce individual speakers in the cabinets.
you can already look forward to more ding the DI signal to your amp sound? A Due to the freely selectable placement New cabinet emulation
new amps. And with the new Matched total of 57 gear models including foot pe- of the four virtual microphones in front with impulse responses
Cabinet Pro, you can get even more out dals, racks, amps and cabinets can now of the speaker cabinets and in the room, New effects from T-RackS
of your older amps. Thanks to its huge be used simultaneously. With Search and the timbre can be created almost as Mixer with 19 effects
range of creative effects, modulation Favorites functions, as well as Tags and freely as in a real studio. However, we
Multitrack looper and
tools and flexible routing options, Guitar Keywords, the browser of AmpliTube pre- would have preferred to see an Undo/
SpeedTrainer in standa-
Rig 6 Pro is also an excellent tool for sents itself very as very user friendly. Tes- Redo function - just like in Guitar Rig 6. lone version
Also, a new feature is the option to load
Modularly expandable
your own impulse responses. The sound
can be adjusted quickly and easily with VST2, VST3, AU, AAX,
the adjustable size of the emulated spe- Standalone
aker and with a tilt equalizer. Impulse Windows & macOS: 64 Bit
responses from third-party suppliers,
therefore, open up completely new
sonic possibilities.

Mixer and creative helper

In the integrated mixer, you can combine Facts
several speaker and microphone signals, Developer: IK Multimedia
as well as the DI signal, as you like. Very Web: ikmultimedia.com
welcome additions are the 19 new mixing Price: AmpliTube 5 SE:
effects, some of which are based on the 122 Euro, AmpliTube 5: 179
Euro, AmpliTube 5 MAX
high-quality plug-ins from T-RackS 5. A
357 Euro
wide range is covered between equalizers,
dynamics processors, as well as saturati- J Authentic sound
AmpliTube 5‘s 129 new gear models include 2 virtual foot pedals, 5 amps, 19 rack J Large gear-palette
effects, and over 100 cabinets that have been completely re-recorded. on, reverb and creative effects.
More Info J Expandability
The standalone version of the soft-
J Import of own impulse
ware also comes with a Multitrack Looper responses
sound designers: an extremely flexible ting and buying new gear models is now that lets you quickly and easily record and J Intuitive operation
effects construction kit that can be used even easier thanks to the newly designed layer ideas. Audio files can be loaded in J Versatile presets
to elicit creative sounds from any concei- AmpliTube Custom Shop. many common formats and, of course, n No Undo/Redo
vable input signal. there is also an export function. The inte- n No multiband
New gear for guitar and bass grated SpeedTrainer is a practical tool for Processing
n No modulation
AmpliTube 5 MAX Highlights of the 129 new gear models practicing or learning your favorite riffs. Tools
Thanks to detailed emulations of amps include a bass overdrive pedal based on
from manufacturers such as Fender, Mar- the Tech 21 SanSamp and an emulation AmpliTube 5 MAX: Verdict Sound:
Operation:
shall, Mesa/Boogie and Peavey, as well as of the MXR distortion pedal, as well as Whether you want a clean, overdriven,
Price/Perf:
recreations of sought-after cabinets and convincing replicas of amplifiers and distorted, or high-gain sound, Ampli-
effects pedals, AmpliTube is very popular speaker cabinets from Aguilar, Bogner, Tube offers remarkably flexible ways Total:
with both guitarists and bassists. Since the Diezel, Friedman and PRS. By optimizing to create the guitar or bass rig of your
release of the last version of the software the gain structure and the improved dreams. This plug-in delights with dyna-
about five years ago, a lot has happened in power amp modeling, the sound of old mically playable amps, as well as a huge
the field of amp modeling. With Version 5, modules has also been much improved. range of virtual pedals and great-soun-
AmpliTube aims to catch up with the new One of the most important innova- ding studio effects. For many, the ability
generation of amp emulations in terms of tions in AmpliTube 5 is, undoubtedly, to load your own impulse responses will Alternatives
authenticity. Visually, the software shines the improved Cabinet section, in which surely be one of the highlights of this Overloud TH-U Full
in new splendor with a newly designed, new version. AmpliTube is still the first 299 Euro
now also scalable user interface. choice if you want to recreate the guitar www.overloud.com
AmpliTube 5 is available in four va- or bass rig of your idols in software form Positive Grid BIAS FX 2 &
riants, including the free AmpliTube 5 because no amp modeling software AMP 2 Combo
Custom Shop version. The flagship of the offers such a large and expandable 214 Euro
product family is AmpliTube 5 MAX with selection of amps, cabinets and effects www.positivegrid.com
over 400 gear models, which also includes for guitar and bass. And the sound has Line 6 Helix Native
11 brand/artist collections such as Ampli- become even more powerful, defined $400 US Dollars
Tube Jimi Hendrix, Brian May, Joe Satri- and nuanced in Version 5. r www.line6.com

Beat 03 | 2021  •  63
SOFTBEAT
New effect plug-ins

New Effect Plug-ins by Sascha Blach,

Mario Schumacher and Jan Wilking

Waves MUST-HAVE Forward Audio Baby Audio

CLA Epic faPhaseBundle Spaced Out
03/2021

The abbreviation CLA stands for Chris Lord-Alge, Anyone who records instruments like drums, bass Spaced Out combines delay and reverb for effects
who, in collaboration with Waves, has already relea- or guitars with multiple microphones knows phase that seem to be outside our universe. On the left
sed various plug-ins such as CLA Guitars and CLA cancellation all too well. Forward Audio wants to side of the control surface, you adjust the delay. As
Drums. These plug-ins combined components remedy this with its new faPhaseBundle, which a special feature, it has a sequencer with 16 steps
such as compressors, EQs, reverb, delay and pitch includes the two tools faTimeAlign & faGuitarA- to process only individual passages of the inco-
in a single tool, allowing the user to create a suita- lign at a very special price. Phase cancellations are ming audio signal in sync with the song tempo.
ble sound in a time-saving manner and with just a noticeable, for example, when snares sound stran- This gives you exciting rhythms and groovy delays
few button presses. With CLA Epic, there is now a gely thin on multi-microphone recordings. This can in no time flat. A combined high and low pass fil-
similar concept for Reverb and Delay. This plug-in be fixed during recording by measuring the micro- ter, as well as various sound textures, are available
contains four different delays and reverbs each, so phone distance or later by using the phase switch in for further processing and a reverse function allows
that a total of eight effects can be packed onto one the mixing channel. experimentation.
signal. In detail, these are the delay types: Tape, faTime Align is the more elegant tool, as it is On the right are the reverb controls. Instead of a
Throw, Slap and Crowd and the reverb types: Plate, more flexible. With it, tracks can be aligned very sequencer, a large X/Y pad fills the central area here
Room, Hall and Space. The settings are, however, precisely to each other using this plug-in. To do this, and it is used for smooth gliding between the four
rather rudimentary. The appeal of this tool lies more you simply have to load this on all relevant tracks, reverb algorithms: Vacuum, Small Space, Medium
in the interaction of the various components, which then you look for the sweet spot by turning the large Space and Outer Space. Stardust adds a kind of
makes it very versatile - from subtle to huge oce- delay knob in the middle while listening to the sig- shimmer effect in high frequencies. The pre-de-
ans of effects. Drums, vocals, synths and guitars are nal in the loop. Comb filter effects are also possible lay, as well as the sound behavior and the width of
all equally well-suited here to be made more „epic“. in the process. The A/B comparison function is also the effect, are additionally adjustable. Another X/Y
Another exciting feature is the ability to route the very practical. In faGuitarAlign, an X/Y pad is the pad combines delay and reverb and simultaneously
effects into each other, for example, sending delays central element. Two signals - guitar and bass - but controls the effect components among each other,
into reverbs. also any other multi-microphone recording such as as well as in relation to, the input signal. Very handy
According to the concept, there are tons of piano - can be mixed into each other; and there is is the ducker, which suppresses the effect part when
presets for different approaches that deliver good a phase switch and solo button for each. The sweet an input signal is present. This way the effect is only
results. Thanks to the mix control, you don‘t have spot is found by moving the cursor in the X/Y pad. audible in quiet passages, which prevents the mix
to open a bus track, you can just put CLA Epic on from being muddy. A random function always holds
the single track. Verdict new surprises.
Both tools worked reliably in the test and meant
Verdict more convenient handling than manual track shif- Verdict
Even more settings would have been the icing on ting. The two plug-ins can also be used successfully Spaced Out enables complex space and time effects
the cake, but even so, CLA Epic is an interesting to create wide stereo effects. With more than two while remaining easy to use thanks to its well
and above all easy-to-use all-round weapon in your tracks, however, you have to find workarounds with thought-out interface inviting you to tweak and
effects arsenal. As usual, the presets offer high musi- faGuitarAlign, which is a pity, because guitar and experiment. This visually very appealing plug-in is
cal value and, thanks to CPU-saving programming, bass recordings with multiple microphone and DI also very impressive in terms of sound.
multiple instances are no problem. signals are not uncommon.

Developer: Waves Developer: Forward Audio Developer: Baby Audio

Web: www.waves.com Web: www.forward-audio.com Web: www.babyaud.io
Price: $199 US Dollars Price: $69 US Dollars Price: $69 US Dollars
Format: VST, AU, AAX Format: VST, AU, AAX Format: VST2, VST3, AU, AAX
Rating: Rating: Rating:

64 • Beat 03 | 2021
 SOFTBEAT
New effect plug-ins

Overloud
GEM VOICE MUST-HAVE
03/2021

The latest offering from the Italian software forge is a channel strip that speci-
alizes in editing vocals and voice recordings. GEM VOICE is therefore a very
fitting name. We were curious to see whether the plug-in is also as accurate in
terms of sound. GEM VOICE integrates mic preamps, tape stimulation, vocal
enhancers, a multiband module, a dynamics processor, an equalizer, a reverb
effect and an analog delay. The virtual microphone preamp offers four different
models that can color the sound in different ways. The tape simulator was also
modeled after analog. Seven different tape simulations create for some musi-
cal saturation, while the Flutter, Vocal Dist and Fuzz types make it heartier and
more characterful. For more presence when needed, the Enhancer emphasizes
existing harmonics. You can choose between five application frequencies and
control the intensity here.
The De-Esser is undoubtedly an essential tool for processing vocals. GEM
Voice also offers this kind of frequency-selective dynamic processor in the mul-
tiband section, which delivers convincing and transparent results with only a
few setting options. The De-Box module, on the other hand, allows bass-he-
avy vocal recordings to be softened and given more presence and freshness.
Of course, a vocal channel strip should not be without an extensive dynamics Verdict
section: GEM VOICE‘s Compressor module comes up with five different styles, Without overburdening the user with excessive setting options, GEM VOICE
including optical, FET and tube compressors. The expander/gate can be used to scores as a comprehensive and versatile toolbox for the production of vocals.
effectively reduce background noise. The equalizer is also very universal, emula- The sound is excellent as usual and you get professional sounding results in
ting the sound behavior of four legendary EQ models. In the Band Limit mode, no time. This plug-in is just as well equipped for smooth vocals for sing-song-
you can also achieve megaphone effects and the like. The equalizer parameters writer productions as it is for polished pop vocals, overdriven rock vocals or
can also be set in the display. creative applications. Even voice recordings can be given a professional sound
With impulse responses of small rooms and classic reverbs, the Space easily and effectively. Although the intuitively operated plug-in specializes in
module helps to create a realistic impression of space or even striking reverb the processing of voices, it also scored points in the test for the refinement of
effects. Simple delay effects, as well as slapback echoes and stereo doubling are instrument recordings, drums or synth sounds. Another plug-in pearl from the
finally possible with the Delay module. Last but not least, in the master section house of Overloud!
you will find a switchable limiter that protects against clipping. On board are
presets for processing male and female vocals, as well as voice recordings, inclu-
ding the preferred signal chains of renowned producers like Joe Barresi. Sure, Developer: Overloud
one could wish for more adjustment options like attack and release controls for Web: www.overloud.com
the compressor or a customizable order of the modules. But it‘s the straight- Price: 179 Euro
forwardness of the plug-in that makes it a studio tool with a high utility value, Format: VST, AU, AAX
because you can reach the desired sonic goal very quickly. Rating:

Beat 03 | 2021  •  65
WORKBEAT Zampler Plug-in, Sound-
Zampler Constructor: Downtempo set, Audio demos and
MIDI files for Download:
www.bit.ly/BeatDL182

Zampler: Ænigma
Downtempo Constructor
Pure emotion and ethnic vocal power ... Gregorian chants have, without
question, a mysterious and unique sound; however, since such chants also
quickly sound stale, we have sampled them by all the rules of the art, sliced
and twisted through the sound grinder. The result is 64 production-ready
bass, pad and lead hybrids of choir sounds and synthesizer sounds that add
a unique touch to any track. Raise the curtain on our latest soundbank for
Zampler//RX! by Mario Schumacher
www.zamplersounds.com

1 2 3
Drums Beat programming Start the Zampler!
At the keyword „Gregorian Choirs“ most For our beat, we turn to Native Instruments‘ A closed hi-hat on the eighth-note beats
people will surely think of the music project Kontakt Instrument Butch Vig Drums [1]. The provides a consistent groove. In the intro of
Enigma, but our Zampler soundbank „Ænigma“ „Holy House“ drum kit delivers a contemporary our track, we‘re concerned with creating a dense,
is musically much more versatile. In the and punchy sound. We play in a two-bar halftime ethereal atmosphere. To do this, we combine
following, we use it for a modern downtempo beat with the bass drum sounding on eighth several sounds from the Zampler expansion. To
track at 134 BPM. A suitable drum groove often notes 1, 4, 7, 10, and 15. The snare plays every do this, load the Zampler//RX plug-in and then
helps to find musical ideas. 1 half note of a measure. 1 click Load Bank. 1

4 5 6
Atmosphere Chopped choir Arpeggio
Change to the folder where you have unpa- The selected preset plays only one held Now we bring an arpeggio into play. Load
cked the soundbank. Select the file „Zampler note in the intro, as does Patch 019: LD Preset 058: AT Ghostly Monks, deactivate
Aenigma.fxb“ and navigate to Patch 061: AT Ohonis, which alternates with it. For this one, we the Mono playback mode and set Glide and
Positivity. We take the sound unchanged, but activate Mono Mode and set Glide to 0. To make Filter Resonance to 0. For a more percussive
chop it up rhythmically with the Polyverse Music the sound fit into the groove, we also rhythmize sound, turn the Sustain control of the volume
Gatekeeper plug-in [2]. Eventide Blackhole [3] it with Gatekeeper, while NI Replika XT [1] adds a envelope to minimum. The patch plays the
also adds a dense reverb effect here. 1 dotted eighth-note delay. 1 illustrated eighth-note sequence. 1

66 • Beat 03 | 2021 [1] www.nativeinstruments.com; [2] www.polyversemusic.com; [3] www.eventide.com

 WORKBEAT
Zampler Constructor: Downtempo

7 8 9
Arpeggio: Effects Bass sound Bass: Modulation
Blackhole and Replika XT give the sound Tune Oscillator 3 an octave lower than the To be able to play filter sweeps with
more depth. What is still missing from our first two and select the square waveform the modulation wheel, we make the
intro? Of course, a powerful bass sound! For here. Then activate the Dirty LP filter mode and following assignment in the Mod Matrix: Source:
this, we use the DS Audio Thorn Solo synthesi- adjust the remaining filter parameters as shown. ModWheel, Depth: 100%, Target: FLT1 Cutoff.
zer from Beat Studio [4]. First, activate all three For the desired sound and volume curve, adjust Then, we add a subtle reverb effect to the bass.
oscillators and detune the first two slightly in the Amp Envelope and Envelope 1 as shown in Since the samples from „Ænigma“ are in WAV
opposite directions. 1 the following picture. 1 format, you can also edit them in your DAW or in
other plug-ins. 1

10 11 12
Chopped texture Sample roller coaster Fine tuning
For example, you can create interesting The positions of the slices are now Also experiment with the playback
textures by running the samples through determined by random generator. Play the direction (Dir), the pitch (Pitch) and the
the slicing beatbox Sugar Bytes Egoist [5]. Load VST instrument with MIDI note C1. Also click on progression (A, D) and level (Level) of the slices.
this as a VST instrument and drag a sample like the cube in the sequencer under the waveform It is also worth changing parameters such as the
„BS Start Here-000-048-c2“ from the installation display. Now the playback order of the slices is slice length (Length), the pitch and the envelope.
folder of the soundbank onto the Slicer. Then changed, resulting in interesting textures. You By the way, you can also save several patterns
click on the cube icon in this section. 1 can also adjust the order manually. 1 with different settings and pitches. 1

13 14 15
Variety Bell sound Bass 2
To do this, play Egoist over another With single notes of Preset 013 IN Ravers In this variant, we adjust the envelope
MIDI note, such as C#1, and create a Bells, we accent every four bars on the and filter parameters as shown. The
new pattern for it. This can be based on another first beat. In this patch, we deactivate the Phaser/ second bass does without a reverb effect. It plays
sample, but you can also copy patterns from Chorus, otherwise it remains unchanged. The the chord root notes of C, G, A# and F. Transition
one memory location to another and change intro leads into a more densely orchestrated part, notes provide a little more variety. Our bell
them. A pinch of reverb also adds spaciousness in which we replace the bass from Thorn Solo with sound from the last step complements the bass
to our texture. 1 a crisper variant with a shorter decay. 1 line with an eight-bar, two-part sequence. 1

[4] Siehe Heft-Daten; [5] www.sugar-bytes.com Beat 03 | 2021 •  67

WORKBEAT
Zampler Constructor: Downtempo

16 17 18
Pad sound Driving beat Vocal chops
Now how about a supporting pad? For In this one, the bass drum plays on Using the sampler of your choice, you
this purpose, the Patch 021 PD Akkon eighth notes 1 and 6 and the snare on can create your own kit with vocal
Will Fall from „Ænigma“ does an excellent job 3 and 7. Ghost notes make the beat more vital, snippets in no time using the audio material from
of doubling the bass with its airy sound in the while sixteenth note hi-hats provide the desired the sound bank and arrange them as you wish.
high registers. In the second part of this part, we drive. To complement this, we added a melody We use Groove Agent SE5 [7] for this purpose. To
replace our halftime beat with a more driving using the tried-and-true Patch 058: AT Ghostly do this, drag any samples from the soundbank
groove from XLN Audio‘s XO [6]. 1 Monks. Modern vocal chops would be a cool folder onto the pads / keys of your sampler so
addition, right? 1 that each key triggers a different sound. 1

19 20 21
Edit samples Vocal chops: Effects Heavenly voices
Adjust the fine tuning of the samples If your sampler allows it, you can also In the break and the final chorus of the
by ear or with a virtual tuner like Melda apply different effects to the individual track, two solo vocalists make their
Production‘s MTuner [8]. Now experiment with sounds. For the desired wide, room-filling sound, grand entrance. For these we use the legato
parameters such as the tuning, level, pan posi- we load the Replika XT and Blackhole plug-ins patches of the Kontakt libraries Best Service
tion, sample start, and envelopes. By changing in the sampler track as insert effects. The freely Shevannai [10] and Zero-G Ethera EVI [11]. With
the start, you can already create multiple vocal available multiband compressor Xfer OTT [9] both, you can switch between the vowels with
snippets from one sample. 1 brings the vocal samples even more to the fore. 1 key switches. The virtual vocalists harmonically
complement the bass and pad. 1

22 23 24
Multilayered beat Arpeggio 2 Arpeggio 2: Sequence
Here, too, we use the proven combi- We remedy this by using a high-pass fil- For this one, adjust the delay and re-
nation of Blackhole and Replika XT for ter with a cutoff frequency at 300 Hertz verb effects as well as the filter settings
more depth. In the final eight bars of the chorus, on the halftime beat. Now the groove sounds even as shown in the previous step. For a smoother
we want to go all out musically. We combine the denser and more complex, but remains defined. sound, we deactivate the Noise oscillator and
driving beat from XLN Audio XO with the halftime For additional drive, we add an arpeggio, for which increase the Attack time of the Amp envelope
beat played by the Butch Vig Drums. The result we draw on the Thorn Solo synthesizer. Load the to 6%. We also deactivate the plug-in‘s Limiter.
sounds cool, but booms too much. 1 PLUCK Footprint preset from the „Lead“ folder. 1 The Pluck sound plays the pictured arpeggio that
follows the chords. r

68 • Beat 03 | 2021 [6] www.xlnaudio.com; [7] www.steinberg.net; [8] www.meldaproduction.com; [9] xferrecords.com/freeware; [10] www.bestservice.de; [11] www.timespace.com
 SOFTBEAT
Soundware

New Sounds & Samples by Phillipp Sterczewski

Synapse Audio Bitwig

Premium EDM Vol.3 Bass-08
The DUNE 3 synthesizer plug-in, treasured for The legend is back! The sounds
its smooth, harmonic sounds, gets a sonically of the Roland 808 drum machine
powerful 68-sound expansion to its preset have been preserved in this appro-
library with Premium EDM Vol.3. Synapse ximately 500 MB sample package
Audio has divided these EDM sounds into Arp, Bass-08, which Bitwig makes avai-
Bass, Drums, Gated, Leads, Pads, Sequences lable to all its registered users of the
and SFX. The Dubstep-heavy basses sound in-house DAWs (Bitwig Studio, 16-Track or 8-Track) free of charge as a sound
intricate and intense, accompanied by vintage set. In total, twenty presets and 32 multisamples were crafted from the 2747
basses. Soaring leads, which immediately grab samples. The attention to detail becomes apparent when a Macro is changed,
attention as distinctive hooks and make the crowd go wild at festivals, are also for example, to change the tuning or decay. Then, a completely different samp-
guaranteed. The drum section features fat kicks. The melodic, soft sounds le set is loaded. Particularly noteworthy are the 28 pattern clips, which contain
from the gated and pads category and the hypnotic arps, however, suggest that ready-made grooves, so there is no need for complex beat programming. These
the pack can also be considered for (Psy)trance productions. In contrast, the groovy clips range in style from analog tribal and 80s breakdance to warehouse
Sequence section presents itself as rabid, energetic and hefty. Prominent stutter electro and classic house.
gates and impacts increase the attention for future EDM tracks.
Verdict
If you don‘t have the samples of this drum classic yet and have chosen Bitwig
Verdict as your favorite DAW, you should definitely get it here.
A successful extension for DUNE 3, full of striking EDM and Psytrance sounds.

Developer: Synapse Audio Web: synapse-audio.com Developer: Bitwig Web: bitwig.com

Price: $20 US Dollars Format: DUNE 3, NKS Price: Free Format: Bitwig (Vers. Bitwig Studio 3.3.1)
Rating: Rating:

HY2ROGEN Zero-G
Psytrance ETHERA Gold
Movement Intimate Vocals
A Gigabyte of propulsive loops at 140 Zero-G has released a Kontakt instrument called Inti-
BPM comes with the product of HY- mate Vocals as part of the Ethera Gold series, which is
2ROGEN. If you emulate the sound not only designed as an add-on to the Ethera series, but
of Psytrance heroes like Infected rather serves as a standalone instrument. The approxi-
Mushroom, Astrix, Astral Projection or Juno Reactor, you have come to the mately 2 Gigabyte vocal collection was recorded by
right source. Loops include basses (60), synths (55), drums (82) and percus- Italian soundtracker-proven vocalist Clara Sorace. Al-
sion (15). There are 131 of the single samples plus 20 each of fills and effects. though there are few control parameters such as the
Eighteen multi-samples were prepared as sampler instruments. The pumping envelope and vibrato, there are two new articulations to choose from with soft
drum loops (some of them up to 32 bars long) are rich, finely accented and were and dark. Thanks to the Epic True Legato function, powerful vocals can be per-
exported with and without kick drum respectively. The pluck-like basses roll formed unpitched over three octaves with various sounds such as Ah, Oh Uh
wonderfully and like to shine with groovy shuffles, even supported by the kick or Eh. From soft, angelic tones to slow and dramatic vocals, the instrument
drum, if desired. Descending glitch synth effects plus the typcial risers and im- can provide a lot of emotion to a track. Some of the sustains are comprised of
pacts as transition effects round off this package worth listening to. two layers.

Verdict Verdict
Psytrance Movement combines all the necessary sounds for a competitive, Intimate Vocals is an expressive and moving sample-based instrument that
club-ready Psytrance production. provides epic film and game scenes with appropriate vocals.

Developer: HY2ROGEN Web: hy2rogen.com Developer: Zero-G Web: zero-g.co.uk

Price: 19 Euro Format: WAV, EXS, Kontakt, NNXT, Halion, Serum Price: 45 Euro Format: Kontakt (ab Vollversion 6.4.2)
Rating: Rating:

Beat 03 | 2021  •  69
SOFTBEAT
Soundware

New Sounds & Samples by Matthias Sauer

PatchPool MUST-HAVE
Plughugger
Fractalism 03/2021

Granular effects for abstract textures

and beats are popular with many
Nanopolarity
creative producers. With „Fracta- Arturia‘s Pigments 2 software syn-
lism“ by PatchPool, you can feel thesizer can sound even more
a new fascination when using the cinematic: Plughugger‘s Nanopola-
Output Portal granular FX plug-in. rity offers many ambient pad sounds
With the help of some videos and sound examples, the renowned sound that are very special. The soundset takes an Access Virus Ti and processes it with
designer Simon Stockhausen demonstrates the sonic possibilities of this rather the sound and effect parameters and, in particular, the granular engine in Pig-
special production. For the first steps, a simple acoustic sound (a piano) is re- ments 2. The resulting 163 pads are consistently gloomy, sometimes complex
commended in order to better reconstruct the sometimes wild sound manipu- and, in any case, they are more spacey than the „bread and butter“ pad sounds
lations of the approximately 101 presets. These include tempo-synced stutter of many other synthesizers. It sometimes takes a bit longer, however, before
as well as freezed effects and ever evolving grain clouds. After the FX plug-in, you have adjusted to the respective preset. Fast stepping through presets is, th-
it is best to activate a reverb plug-in specialising in long reverb tails and en- erefore, not recommended here. One point is deducted for the macros, which,
ter the experimental playing field. Portal‘s internal reverb is left out - a very unfortunately, remain idle and should be used for intuitive sound shaping.
good decision.
Verdict
Verdict Nanopolarity is not mainstream, but a bold sound production that has its
If you haven‘t had much success with Output Portal‘s included presets, this charm and can certainly do more than the next ambient production. Personal
package should definitely inspire your sound design. Futuristic! testing is recommended!

Developer: PatchPool Web: patchpool.net Developer: Plughugger Web: plughugger.com

Price: 22 Euro Format: Settings for Output Portal Price: 19.90 Euro Format: Arturia Pigments 2
Rating: Rating:

ModeAudio Easy Sounds

Apex – Serum FM Xplorer
Arp Sets
Looking for fresh sounds for the syn-
Yamaha‘s flagship Montage is even
more productive in applying FM
sounds since OS version 3.5. The
thesizer xfer Records Serum? The „FM-Xplorer“ set from Easy Sounds
soundset Apex by Mode Audio isn‘t makes extensive use of the Smart
brandnew anymore, but manages to Morph for the first time. A total of
inspire with lively and timeless sounds for the popular wavetable synthesizer. 192 Performances, 192 Live Sets and 107 Smart Morphs is quite an announce-
The 50 presets for Serum come with just as many MIDI files, 45 wavetables and ment. With this content, your discovery tour can start. You hold a chord, adjust
15 individual LFO shapes. Press just one key, hold it and watch the lively spec- the performance aids and spontaneously create different mixes of pads, arps,
tacle. These are moving presets that don‘t sound clinically sterile coming from bass and drums. Rhythmically, in the manner of a wave sequence, but also flu-
your loudspeaker, but stir up a bit of dirt and more often have a charming LoFi ently via swiping over the touchscreen, the multi-layered sounds can mostly
character. Besides the arp presets, there are also basses, leads, FX and pads that inspire. Stylistically, they range between classic and today‘s synthesizer music,
play well on the keyboard in spite of the many modulations. without being consciously trendy or club-oriented.

Verdict Verdict
A well invested 15 Euro will gladly go to London for this small but fine set. The FM-Xplorer is a fantastic FM library for Montage and its brother MODX (OS
arpeggiator presets have that certain something, inspire musically and defini- 2.5 and higher). If you want to open up the new Smart Morph and design your
tely belong in the good Serum library. Well done! own creations based on the performances, this library is absolutely the right
choice. Smart!

Developer: ModeAudio Web: modeaudio.com Developer: EasySounds Web: easysounds.de

Price: 15.42 Euro Format: Xfer Records Serum Price: 59 Euro Format: Yamaha Montage, MODX
Rating: Rating:

70 • Beat 03 | 2021
 SOFTBEAT
Soundware

Steinberg MUST-HAVE Luftrum

Polarities 03/2021

Genisys
Expansion
For Steinberg Padshop 2, Simon
You want to realize cinematic
soundscapes with just one synthesi-
zer in your DAW? Genisys for u-he‘s
Stockhausen has created an virtual analog powerhouse Diva
extensive collection that moves once again provides proof of how
between acoustic and electronic well this can work in practice.
sound territory - and inspires! Padshop 2, a specialist for granular sounds, Genisys has been created by a proven team: Designed by Stephan Baer
receives over 250 presets with „Polarities“, which are based on 3.4 GigaBytes and supervised by Luftrum. The first presets are immediately astonishing.
of sample content. Played with a single note, the arpeggiator sounds almost always result in be-
The library starts with one of the most beautiful accordion pads, which is autiful accompaniments, which are continued with the bass loops in the lo-
followed by epic brass ensembles and other acoustic instruments. The abstract wer registers. The power in silence is conveyed by the pads; subtle sounds
spherical collages for timeless ambient music and soundtracks are impressi- are also available for themes. Some nifty presets are, therefore, teased out of
ve. They can be shaped nicely and simply via the modulation wheel. Rhyth- Diva (from version 1.4.3).
mic phrases hardly appear, it‘s clearly about pad sounds with different layers.
Verdict
Verdict Without question, Genisys is one of the tastiest libraries for u-he Diva when it
Steinberg‘s Padshop in its current version gains even more appeal with this comes to the cinematic sounds of analog synthesizers. If you‘re still in doubt,
great expansion - by now Steinberg‘s fifth library for Padshop 2: Close your you should definitely check out the 20+ great demo tracks on the Luftrum
eyes, fly and dream! website.

Developer: Steinberg Web: steinberg.net Developer: Luftrum Web: luftrum.com

Price: 39.99 Euro Format: Expansion for Steinberg Padshop 2 Price: $35 US Dollars Format: Presets for Diva/NKS
Bewertung: Rating:

UVI Sounds Divine MUST-HAVE

LoFi Dreams Atmosphere 03/2021

Chillhop and related downtempo With a title like “Atmosphere“, you

genres are currently very popular. actually already know where the
So even UVI‘s Falcon 2 gets a cor- journey is going. If this set has been
responding add-on called „LoFi created for the first-class software
Dreams“ with a lot of lo-fi charac- synthesizer Xfer Records Serum, the
ter. After the installation and the joy is even greater.
(wrongly feared) iLok authorization, 200 presets are available to play, which de- However, SoundsDivine is a little unsettling at first. The basses are aimed
vour 4.31 GB of samples. With the macros, the individual patches are still easy at EDM producers and are mostly not very atmospheric. Yet with the numerous
to modify. The journey goes through several sections: Piano, Keys, Bass, Guitar, FX presets, you are already immersed in a shimmering sonic cosmos. Effective
Leads, Pads, Plucked and Synths, as well as Animation and Drums. The sounds yes, but also surprisingly well usable musically. The rhythmic animation, which
for melodic phrases are worth mentioning, sounding organic and grounded. grooves finely and effectively, deserves extra praise. The chillout and ambient
The pads and keyboards are also varied and well done. The versatile patches producer will find plenty of ideas for some new tracks here.
can and want to be played. Cool!
Verdict
Verdict Atmosphere for Serum contains 130 sounds that are well worth the price of
LoFi pleases with very practical sounds that have a rather moderate LoFi around 30 Euro. If you love exquisite spheres of sound and want to be inspired,
touch. If you‘re looking for bread-and-butter material instead of wacky effec- you can be enchanted by this first-class soundware. Simply heavenly!
ted sounds, you can grab this without hesitation.

Developer: UVI Web: uvi.net Developer: Sounds Divine Web: soundsdivine.com

Price: 39 Euro Format: Presets for UVI Falcon Price: 30 Euro Format: Serum Presets
Rating: Rating:

Beat 03 | 2021  •  71
HARDBEAT
DesktopAudio

Review: PreSonus ATOM SQ

Optimized for the in-house DAW Studio One, this compact controller offers knobs, pads and step sequencers
to make reaching for the mouse unnecessary. by Jan Wilking

Features
USB Controller
Optimized for Studio One
32 RGB Pads
Polyphonic Aftertouch drawback: the assignment is not shown
in the display! So, you are flying blind
8 Encoders
and have to find out by trial and error
Multifunctional Touch which parameter is on which knob. This
Strip is something we hope will be improved in
Arpeggiator/Sequencer the course of an update. The same applies
Dimensions: 362 x 172 x to the User Mode, in which you can freely
25 mm assign DAW commands or MIDI-CC to
ATOM SQ is connected to the computer via a USB cable, which also supplies the controller with power. the knobs to control external hardware in
Weight: 0,91 kg
standalone mode. This is very practical,

T
his controller makes a solid impres- controller, as are the transport controls for but without displaying the assignment
sion. The eight large endless knobs Play, Record and more. For this purpose, in the form of parameter names, it is a
have a pleasant resistance, and the ATOM SQ uses the standardized Mackie constant mental task.
Facts buttons have a noticeable pressure point. protocols and is, therefore, compatible
Manufacturer: PreSonus The 32 multicolored, illuminated pads with all common DAWs. Step Sequencer in
Web: presonus.com are smaller than those on Maschine or In Studio One, the integration goes a Studio One
Purchase: Specialty Shops comparable pad controllers at about 2.5 good bit deeper; you can also set markers For more in-depth editing of recorded
Price: 239 Euro x 1.5 cm, but they offer a good playing in the song or scroll through effects there. sequences and patterns, the Edit Mode
J Compact Form feel. They are velocity sensitive and also You also have advanced features in Able- opens the appropriate editor in Studio
J 32 Pads handle aftertouch (even polyphonic ton Live. Tracks are displayed with names, One and provides access to common fun-
J Usable as a Keyboard aftertouch). A freely configurable touch can be stepped through and adjusted in ctions such as Quantization, Velocity, and
J Polyphonic Aftertouch strip with LED chain is located between volume via the sliders, and clips and Note Shifting and Transposing directly
J Configurable the knobs and pads. scenes can be started from the controller. from the controller via menu and knobs.
Touchstrip An easy-to-read display is used to Studio One users also have access to
J Arpeggiator
show important information and, in Pad and Keyboard the step sequencer based on the DAW‘s
J DAW Integration
(S1/Live) conjunction with the arrow keys and as- Controller own pattern editor, which you can use
J Step Sequencer (S1) sociated knob, for menu navigation; a In Instrument Mode, you use the pads as a to program grooves in classic TR-X0X
n No Display of Controller multi-color transport section is also inte- keyboard to play drums and instruments. fashion. The controller lets you select
Assignment grated. ATOM SQ has a compact design Various scales are available for this pur- drum kits, change the length of the
Features: and will find its place even on a cramped pose. With the eight knobs, you control pattern, select variations, quantize and
Operation: desktop. Power is supplied via the USB-C the parameters of the selected software access all other important functions, so
Price/Perf: port, which you also use to connect ATOM synthesizer. In this mode, you can also use you can create complete beats without
Total: SQ to the computer. There are no other the integrated arpeggiator with different reaching for the mouse. We would like to
connections available. playback directions and swing option. see similar functionality in other DAWs or
Playing via the keys basically works well even in standalone mode.
DAW Controller and is quite a useful alternative when
In Song Mode, you have access to the clas- there is no real keyboard within reach. Verdict
Alternatives sic mixer functions. You can arm tracks for However, we sometimes had to struggle ATOM SQ combines DAW and pad/
Novation Launchpad recording, mute them or listen to them with double triggers in the test. keyboard controller in a solid package.
from 87 Euro individually. Zooming and navigating in In Studio One, you have direct access It is especially interesting for users of
novationmusic.com the arrangement can also be done via the to the instruments and can load them via the Studio One DAW, who benefit from
Akai MPD232 the controller; in Impact, the pads show uncomplicated installation, deep integ-
199 Euro the assignment with samples in color. ration and integrated step sequencer. It is
akai-pro.de In Ableton Live, you also have access to also a compact and affordable alternative
Arturia BeatStep Pro browsers and can load individual devices to Push for users of Ableton Live, where
220 Euro and edit them via the controllers. Unfor- the small pads impress with a pleasant
arturia.com tunately, however, this has one major feel and polyphonic aftertouch. r

72 • Beat 03 | 2021
 HARDBEAT
DesktopAudio

Zoom Vochlea
V3 Dubler Studio Kit
While the Zoom V6 vocal effect in robust floor This topic is an evergreen: The hookline is in your
pedal format and featuring a built-in looper is head, but before you can find all the right notes
aimed primarily at street artists and stage musi- on the keyboard, it‘s long gone. If only you could
cians, its smaller brother V3, which is only half as just sing or hum a melody. You can guess what‘s
expensive, is more suitable for the desktop studio. coming next: Sure, you can! And not only notes,
For this purpose, it offers plenty of voice effects for but also beats.
music production, as well as for podcasts, dubbing While much longed-for technologies such as
and streaming. The 16 voice processing effects „Brain to MIDI“ are still being worked on, manu- ated themselves by simply activating allowed no-
optimized for their intended use, such as Unison facturer Vochlea has already invented „Voice to tes with a click. Alternatively, the desired notes for
and Vocoder, can be selected directly via the large MIDI“. The Dubler Studio Kit consists of a speci- the scale can even be sung in. Practical! In order to
buttons, without detours, and tuned appropria- al USB microphone and a software package of the also cover ranges between the notes, Dubler offers
tely with the V3‘s parameter controller. The pitch same name, which recognizes voice signals from the a pitch bend function, which detects fluctuations
correction can subtly compensate for vocal weak- microphone and converts them into MIDI notes. in the voice and sends them as pitch wheel data.
nesses or be used excessively for the currently ever Installation is super simple: Either scan the While both singing notes and controlling
so popular autotune effect. QR code included in the package or go directly parameters via vowels is a lot of fun, beatboxing
As with the V6, the V3 also lets you create your to the manufacturer‘s website, download Dubler was only conditionally inspiring. Drums could
own backing vocals by adding up to two voices in software and open the app. On the one hand, this certainly be controlled via various sounds, but
major or minor keys to create three-part harmo- activates the virtual MIDI port, which can be used not nearly as precisely as notes. A clear „Bamm“
nies with your voice. Real-time formant correction as an input in any DAW, and on the other hand, it or „Bomp“ for the kick is distinguished quite reli-
allows you to alter your voice without changing acts as a converter from voice to MIDI notes. Two ably from a „Tsssss“ or „Psssss“ for hi-hats, but
pitch, which also allows for unusual special effects modes are available, „Triggers“ and „Controls“, the recognition got confused with less different
to alter your voice for streaming video games, which can also be used simultaneously. sounds. In principle, the technique works quite
podcasts, and YouTube videos. Reverb, Delay and The former converts up to eight percussive well, but requires much more practice until the
Compressor are already built in and, connected sounds into notes for drums. In order for the app results fit.
via USB, the V3 also serves as an audio interface. to understand your sounds properly, they must
first be trained. So, add a drum, press the „Train“ Verdict
Verdict button and repeat until the desired sound is repe- The Dubler Studio Kit is a unique product with
Zoom V3 is a practical, compact device for ated several times. Then, select a MIDI note for the impressive technology and a great fun factor.
modifying your voice for a wide variety of appli- drum and, if necessary, activate „Velocity Control“ Although the drums were not quite as easy to
cations in the desktop studio. Whether pitch so that you can control the velocity of the MIDI control via microphone, singing melodies works
correction, harmony accompaniment or monster note with the volume of your voice. flawlessly and controlling filters or other para-
voice are required, thanks to its intuitive ope- The „Controls“ mode, on the other hand, meters via vocals is more than just a great bonus,
ration, we could actually always find a suitable recognizes sung pitches in real time and outputs both in the studio and on stage. And last but not
effect of reasonable quality quickly and easily in corresponding MIDI data; however, not only are least, thanks to chords, scales and quantization,
the test. The direct parameter access also invites the notes recognized, but so are the vowels A, E Dubler is a true source of inspiration for any type
experimentation. and O, as well as an envelope - all of which can and form of music. Top!
be assigned as MIDI controllers to any parame-
ters in the DAW, for example, to control filter
movements, vibrato or effect components. The
only limit here is your own imagination.
Singing the notes works surprisingly well and
Dubler also quantizes the input to the nearest note
if the pitch is not quite hit. Since a basic pitch can Developer: Vochlea
Manufacturer: Zoom be defined and four scales can be added, inexpe- Web: vochlea.com
Web: zoomcorp.com rienced singers are also on the safe side. There is Distribution: Website
Distribution: Sound Service even a chord function available, but with only a Format: Standalone
Price: 199 Euro single chord. The selection of scales should also be Price: $360 US Dollars
Rating: much more extensive; however, scales can be cre- Rating:

Beat 03 | 2021  •  73
HARDBEAT
Review

Review: Korg opsix

Korg wants to make FM synthesis easier to use with the opsix. Additional digital sound generators, as well as filter
emulations and step sequencers, complete the concept. Is this the most accessible FM synthesizer ever?
by Jan Wilking

Features Hardware only on a

Digital synthesizer
Wavestate level
The hardware is strongly reminiscent of
6 operators the Korg Wavestate. This doesn‘t have to
FM, RingMod, FilterFM, be a bad thing in principle, because costs
WaveFolder can be saved by taking over elements of
37 keys other synthesizers. Modal shows this in
an extreme form, because the Cobalt8 sits
32 voices
in exactly the same case as the Argon8.
Polyphonic sequencer Although the Cobalt8 comes from a small
Filter model company, its hardware impresses with
3 effect instances a robust metal housing and an outstan-
dingly playable Fatar keyboard with
aftertouch. The opsix looks much cheaper
and more toy-like in direct comparison,
although it is over 100 Euros more expen-
In Korg‘s opsix, advanced FM sound generation meets a great sounding filter based on an analog voicing sive than the Cobalt. You can expect more
scheme, high-quality effects, and a polyphonic sequencer with motion sequencing. from a big company like Korg.
Facts

W
Manufacturer: Korg hen Yamaha introduced the groovebox, and smaller boutique manu- Clunky ­keyboard
Web: korg.de DX7, the first affordable FM facturers serve the experimental market without aftertouch
Purchase: Specialty Trade synthesizer, almost 40 years ago, with PreenFM or MEGAfm. The velocity sensitive keyboard is familiar
Price: 779 Euro it was a revelation for many musicians. from the Wavestate. It is only of average
J Direct access to 6 OPs Because the sound generation based on Direct access quality; too smooth and too loud, and the
J Color visualization frequency modulation enabled pianos Korg pursues a similar approach with the lack of aftertouch is incomprehensible
J Different synthesis and other natural instruments in previ- opsix like with the DS8 and starts with for dynamic sound synthesis like FM.
per OP ously unknown levels of naturalness. And the biggest shortcoming of the forefather The plastic case with upper metal plate
J Filter emulations the DX7 also set new standards in terms DX7: the complicated operation. Direct also doesn‘t look very high quality. We
J Polyphonic sequencer of transparency, clarity and dynamics, access to the frequencies and volumes can only hope that Korg will release a
J Good-sounding effects
making it the best-selling synthesizer of of all 6 oscillators or operators, as well large version with a decent keyboard or a
n Rickety Keyboard w/o
Aftertouch all time. Interestingly, however, only a as a downstream subtractive synthesis desktop version like the Minilogue.
n No macro controls few other manufacturers jumped on the with emulations of analog filters, are The two wheels for modulation and
successful bandwagon. Korg launched supposed to facilitate the entry into the pitch bend are located above the keyboard,
Processing:
their own FM synthesizers, the DS8 and potent sound generation; the built-in which keeps the opsix compact and, thanks
Sound:
Operation:
707, a few years after the DX7, but they step sequencer with parameter recording to the light weight of the plastic case, also
couldn‘t match the success of the DX7. provides movement and a multi-effect is easy to transport. However, battery opera-
Total:
Therefore, Korg concentrated more on built in for refinement. tion for mobile use is not provided.
the new category of workstations that was
created with the M1.

The sound synthesis

Revival of FM synthesis
Alternatives In recent years, however, a renaissance
Yamaha RefaceDX/ of FM synthesis is emerging. This is

goes way beyond the

MODX6 because many modern music styles
from 320 Euro demand punchy, cutting and hard digital
yamaha.de sounds, as well as 80s revival sounds that

DX7 and offers more

Elektron Digitone only an FM synthesizer can really pull
from 699 Euro off convincingly. Yamaha has Reface DX
elektron.se as well as Montage and MODX on offer,

waveforms. «
ASM Hydrasynth and with FM-X, they rely on an even more
from 899 Euro complex sound generator. Elektron packs
ashunsoundmachines.com FM synthesis into the compact Digitone

74 • Beat 03 | 2021
 HARDBEAT
Review

Knobs and faders for each OP

On the other hand, the very lush features of the
controls for an FM synthesizer are pleasing. In the
upper left corner there are six faders and endless
knobs. These are used to control the volume and
frequency spacing of the individual oscillators. The
faders and knobs are illuminated and their colors
indicate whether the respective oscillator is used
as a carrier or modulator. Reminder: Depending
on the linkage, an oscillator (called operator in FM)
can either be heard (=carrier), or it serves in the
background for frequency modulation of a carrier
(=modulator). For example, Operator 1 and 3 can
be sent directly to the audio output, while Operator
2 modulates Operator 1 and Operator 4 acts on
The current assignment of the endless controllers can be read on the display, but this requires some thinking due to the Operator 3 and is, itself, influenced by Operators
staggered arrangement. 5 and 6. In addition, there is a feedback loop that
allows an operator to modulate itself. Sounds
complicated? It is, and it takes some experience to
use FM to create the sound you want.

Advanced FM Synthesis
The sound synthesis in the opsix goes way beyond
the DX7 and offers more waveforms per oscillator
than just sine and also allows more combinations.
40 algorithms plus individual operator circuitry are
available. The volumes of the modulators, which
have a different effect than in analog synthesizers,
are essential for their sonic results. If you modulate
the volume of Operator 2 via an envelope in the
example above, the modulation of Operator 1
follows this course. This is more reminiscent of
a filter envelope than a volume envelope, since
The highlight of the opsix: Direct access to all operators, the illumination adapts to the function (carrier or modulator).
Operator 2 is not audible as a modulator. The same
applies to the frequency ratio between carrier
and operator. It decides between bell and bass,
harmonic piano sound or disharmonic metal
thunderstorm. And this complex interaction can
be „grasped“ directly with the opsix in the double
sense of the word, because you have direct access
to these parameters for all six operators.

No macro controls
The fader/encoder combination is complemented
by six additional knobs on the right side, which
fulfill various functions. Among other things,
you can use them to edit the volume and pitch
curves, switch between the menu sections and
the individual operators with the buttons below
them; and the central OLED display shows the
The graphics-capable OLED display not only shows controller movements, but can also display the waveform in real time. current parameter assignment of the knobs. Here,
unfortunately, the operation becomes a bit more
Connections reduced via USB or two DIN jacks (IN/OUT), USB audio was menu-heavy and fiddly, but this is more the fault
to the essentials not integrated. An audio input is also missing, which of the complex possibilities of FM synthesis than
All connections are on the back and are quickly is a pity considering the good filters and effects. Korg. Nevertheless, from our point of view, it would
dealt with. The opsix is only monotimbral, so it There is only one connection for a damper have made sense to give the opsix a few macro
can only produce one sound at a time and not pedal. If aftertouch is omitted, Korg could have at knobs to set parameters like attack and decay of the
several (even if at least a kind of split sound can be least integrated a connector for an expression pedal; envelopes for all modulators or all carriers together,
programmed with the FM synthesis). Therefore, however, keyboardists can use a decent external like on the Volca FM. At least a selection of several
single outputs could be omitted, audio signals reach keyboard with aftertouch and additional controller operators for joint editing (like with the RefaceDX
the outside world via two balanced jack sockets and connections, anyway. The power is supplied via an controller from Dtronics) would be a relief. Perhaps
a headphone jack. MIDI data is received and sent external power supply. this can still be upgraded via firmware update.

Beat 03 | 2021  •  75
HARDBEAT
Review

Soundwise,
the opsix offers
digital diversity, from
crisp bases to dreamy Via the illuminated

arpeggios and ice-cold

buttons, you have
access to the 16 steps of
the integrated sequencer.

or beautifully soft pads. « On the other hand, it shows itself to be very flexible;
in addition to the classic FM sounds, with the help
of the additional functions, filters and effects, very
modern-sounding and unique sounds are also
Additional digital synthesis This is on the level of large modular systems. Finally, possible. This is evidenced by the numerous presets,
As already indicated, Korg does not rely on FM there are three simultaneously available effects which, in addition to ready-to-play sounds, also
synthesis alone for the opsix, but has built in with everything your heart desires: compressor, EQ, offer plenty of templates for a simplified start to
numerous other features. Not only can one of the chorus, flanger, phaser, stereo delay or even rotary programming your own sounds. 500 presets can be
21 available waveforms (sine, sawtooth, square, speaker and grain shifter. High-quality reverb effects stored in the device, of which a good half are preset
and more) be selected for each individual operator, for the final finishing of the sounds are also on board. with factory sounds. A positive feature is that the old
but alternative synthesis can even be set. Instead The most important parameters of each effect can be sound fades out when the program is changed, if the
of frequency, volume can be modulated, resulting edited and, as with the Wavestate, the effects impress maximum of 32 voices allow it.
in a high-speed tremolo and thus a similar but with their very good sound. Unfortunately, it is not
different sound coloration compared to typical possible to load additional effect algorithms as with Digital competitors
FM. FilterFM allows the modulation of the cutoff the Minilogue XD. Besides the aforementioned FM synthesizers like
frequency in the audio range. This effect provides Reface and Digitone, the flexible ASM Hydrasynth
rough, metallic and overtone-rich sounds depen- Polyphonic step sequencer digital synthesizer is definitely an alternative.
ding on the resonance value. Wavefolder „folds“ The 16 buttons in the lower area of the control panel Argon8 and Cobalt8 from Modal score with a more
the waveform resulting in aggressive and distorted are used to control the internal step sequencer, robust case and a much better keyboard. Their
sounds. And if you prefer virtual-analog, you can among other things. This sequencer is polyphonic sound generation offers fewer options, but you
do without digital modulation and choose the - that is each step can play up to six different notes. have direct access to almost all parameters. Waldorf
pure filter engine to send the unaltered waveforms The velocity, note duration and playback timing Iridium pushes the digital variety to an even higher
through the great-sounding filter emulations. A can be set individually for each note. Long phrases level, but is also a good deal more expensive.
widely configurable random function helps to are just as much a part of the possibilities as subtle
create your own sounds even without a deeper timing offsets for emulating guitar strumming and Verdict
understanding of sound generation. drum rolls - a feature that is rather rarely found in It is delightful that Korg is another major manufac-
integrated step sequencers. The motion sequencer turer that has rediscovered FM synthesis. The opsix
Virtual analog filter in the opsix permits recording of value changes deserves a lot of praise for the features with six faders
The signal of the sound generators runs through a of up to six parameters, allowing dynamic sound and knobs each, which allow direct access to volume
virtual analog filter. Eleven different filter types are changes and rhythmic effects without much effort. and ratio of all six operators at the same time and
available, including the legendary MS-20 filter for provide a better overview through color-matched
dirty sounds with character and the Polysix filter for Flexible sound generation lighting. This makes the opsix probably the most
beautifully smooth pads and leads. Those familiar Sonically, the opsix offers digital diversity, from accessible FM synthesizer ever, even if we would
with the corresponding plug-ins know that Korg‘s crisp basses to dreamy arpeggios to ice-cold or have wished for macro knobs for easier operation
digital recreations of analog filters can sound quite beautifully soft pads - everything is on offer here. of the other functions. opsix even goes beyond the
convincing. And Yamaha has already shown with It‘s always amazing how flexible FM synthesis is. extensive possibilities of a classic FM synthesizer
the DX200 groovebox that a downstream filter is It can sound digitally cutting like a polar wind, with the additional digital sound synthesis and
useful for taming the harmonic orgies of digital but with the right programming also warmer and additionally offers subtractive post-processing
audio modulation. more „analog“ than many a VA synthesizer. In with virtual-analog filters, high-quality effects and
terms of basic sound, the opsix sits a bit between a polyphonic step sequencer with
Modulation variety and effects the raw FM sound of the early DX models and parameter recording. As with the
The modulation sources have not been spared either; the extremely transparent and punchy sound of Wavestate, the hardware is to be
in addition to three envelopes and four flexible LFOs, Yamaha‘s newer FM synthesizers like Reface DX criticized; in particular, the rickety
there are two modulation processors that take over or Montage, and seems a bit tame and lacking real keyboard with no aftertouch is not
different functions and can even influence each other. bite in direct comparison. More Info appropriate for the asking price. r

76 • Beat 03 | 2021
 HARDBEAT
Review

Review: UDO Audio Super 6

Super6 is inspired by Roland‘s classic Jupiter-6, but goes its own sonic way with a combination of digital
oscillators and an analog filter. by Jan Wilking

Features
Hybrid synthesizer
12 voices
Binaural stereo
Digital oscillators (FPGA)
Analog low-pass filter
Arpeggiator/Step
Sequencer
Chorus/Delay
49 keys, aftertouch

Two colors are available: Super6 is available in blue or black/dark gray.

Facts

T
his 12-voice hybrid synthesizer al- available in a blue or dark gray controls. A total of 64 fac- Manufacturer: UDO Audio
ready caused quite a stir at the 2019 finish. We somehow liked the tory presets and 64 custom Web: udo-audio.com
Superbooth trade show with its ext- blue even better on the pre-series sounds can be stored in eight Distribution: Specialty
ravagant design and convincing sound. model presented at the trade show, but banks of eight sounds each. Sure, this is Price: 2,499 Euro
But it would be a good year and a half be- that may be deceptive and design is highly also a reminiscence of the old Roland J Lively sound
fore the synthesizer, which is based on a matter of taste anyway; especially when synthesizers, but with a digital synthesi- J Flexible oscillators
the legendary Roland Jupiter-6 and fea- Axel Hartmann is behind it. In any case, zer from the year 2020, there surely would J Analog filter
tures FPGA-based digital oscillators and the design in conjunction with the white, have been a few more memory slots. Due J Fast LFO
an analog low-pass filter, was ready for se- straight-line lettering looks very technoid. to the lack of a display, you are also flying J Binaural stereo sound
ries production. We have secured one of The upper area allows direct access to the blind when selecting the sounds or have J Good keyboard
the first copies for a detailed test. parameters of the synthesizer. Based on to rely solely on your ears, but we didn‘t J Audio input
the Roland classics, UDO relies primarily really find that too annoying. Fortunately, J Robust build quality
n Price
From lovers for lovers on faders. This is especially practical for sounds can be exported and imported via
Super6 is the debut synthesizer from the the envelopes because, in this way you USB; when a computer is connected, the Sound:
young company UDO Audio from the UK. can also visually follow the course. With Super6 appears as its own drive and fi- Build Quality:
The driving force behind this synthesizer the help of 24 faders, 6 knobs and a varie- les can be easily exchanged between the Price/Perf:
is the likeable George Hearn, who was al- ty of switches, you can create just the right computer and synthesizer. Total:
ready involved in the development of the sound without any detours.
Modal 008 and is at least as fond of syn- Good Fatar keyboard
thesizers as the potential buyers are! Even Only 64 memory locations The lever-bender as a replacement for
if the name and the overall design sug- In the lower section, you load and save the pitch bend and modulation wheel is
gests it a bit, the Super6 is more than just sounds, operate the arpeggiator/step se- also a Roland relic. With this, you cont-
a clone of analog vintage classics like the quencer and adjust the performance rol a hidden second LFO for vibrato and Alternatives
Jupiter-6. Although the basic sound of the Novation Summit
Super6 definitely leans in the direction of 2,045 Euro

More than just a clone

Roland, you can also hear American influ- novationmusic.com
ences ranging from Moog to Sequential. Roland Jupiter X
2,280 Euro
Eye-catching design

of analog classics. «
roland.com
The sound synthesis is built into a Arturia PolyBrute
robust metal case of the „Made in Ger- 2,544 Euro
many“ level of quality, which is optionally arturia.com

Beat 03 | 2021  •  77
HARDBEAT
Review

filter modulation. A very playable keyboard from Fat- and noise. DDS1 grants access to an additional
ar was built into the Super6, which handles aftertouch, 16 digital waveforms, which can also be exchan-
as well as velocity. It covers a range of four octaves; th- ged via computer. In addition, it can be expanded
erefore, the Super6 remains reasonably transportable sevenfold without loss of tuning for the infamous
despite a healthy weight of a good 10 kilograms. Ne- SuperSaw. This also works with other waveforms
vertheless, we would have liked to see a version with including the digital variants, so sounds beyond
61 keys. Overall, Super6 leaves a solid impression; no- classic trance horns are possible. And a sub-oscil-
thing wobbles or creaks, and this synthesizer should lator can also be activated, but then DDS2 is no
survive rough everyday touring without any problems. longer available.
Binaural stereo sound
No CV/Gate Flexibility thanks ­ Despite the simple structure at first glance, Super6
The rear panel is unspectacular. USB and the classic to digital waveforms also offers a lot of sound options on the oscillator
MIDI trio serve the connections to computers and DDS2 has a square wave with variable pulse width, level that go far beyond classic analog synthesizers.
other equipment. There are no CV/Gate connec- which can also be modulated (PWM). DDS2 can And to make the whole thing sound nice and wide,
tors for linking to analog sound generators, but the be synchronized to DDS1 and its pitch modulated there is also the so-called binaural mode. Here,
alternative use of a MIDI socket as a DIN socket for classic sync sounds - that sounds really good! the sound is doubled and distributed in the stereo
for synchronization with analog drum computers Anyway, the basic waveforms of the oscillators field to provide more spatiality and liveliness. This
is being considered. Two pedal connections will sound very strongly analog and also feature those costs half of the 12 voices - the sounds are then only
please the traditional keyboardist and underline subtle changes with each keystroke that our ears playable in 6 voices. But the effect goes far beyond
the Super6‘s claim to be an instrument rather than perceive as lively and organic. With the additional simple doubling and hard-panning and also allows
a mere sound slinger. Matching this is the built-in options, however, a digital variant can be added, if subtle sound migrations in the stereo field, since
power supply, which connects to the wall socket via necessary. The digital waveforms, in conjunction phase shifting and detuning can be adjusted.
an IEC cable. Two jack sockets bring the stereo au- with the analog filter, are quite reminiscent of hyb-
dio signal to the outside world, plus there’s another rid classics such as the PPG or Prophet VS. Analog low-pass filter
output for the headphones. Another important component of the Super6‘s
Audio range LFO convincing sound is the analog filter. It is a 24dB
FPGA chip inside LFO1 deserves special attention, because it can do low-pass filter, based on the filter model used in the
The generation of the sounds is done by an FPGA so much more than just filter wobble and PWM. Korg Polysix and currently in the Prophet X. The fil-
chip in the Super6. This chip is so popular with In HF mode, it reaches frequencies up to 20 kHz - ter sounds excellent, nice and creamy and smooth
virtual-analog synthesizers because it can be pro- well into the audible range. Moreover, key tracking and, even at high resonance values, not exhausting,
grammed in a highly specialized way, coming closer can be activated and the frequency can be adjus- but wonderfully harmonic - very Roland style! With
to the actual behavior of real analog hardware cir- ted to the two oscillators, allowing harmonic FM a drive that can, unfortunately, only be adjusted in
cuits than other DSP solutions. Similar to Roland‘s sounds. And besides the standard waveforms, the three steps, it can be driven hotter for more aggres-
Boutique series, the Super6 uses all of its processing digital waves of the DDS1 can also be used for the sive, distorted sounds. A switchable high-pass filter
power to deliver the most faithful sound possible LFO! For weird, overtone-rich sounds, there‘s also thins out the low frequencies, if necessary; and, in
and, accordingly, can only deliver a limited number cross-modulation. TRK mode, bandpass-like filtering is also possible.
of voices. In return, no aliasing or other digital noise
is audible even when played in the highest registers.

Two digital oscillators

Super 6 offers two oscillators per voice, named
DDS1 and DDS2. Both oscillators have the stan-
Although the basic sound of the
dard waveforms: sawtooth, square, triangle, sine
Super6 leans in the d­ irection of
Roland, you can also hear
­American ­influences
from Moog to
Sequential. «
With a robust metal housing, very good keyboard and built-in power supply, the Super6 is also equipped for rough everyday touring life.

78 • Beat 03 | 2021
 HARDBEAT
Review

this hybrid synthesizer by many things about the

Super6. No wonder, given the career of the main
developer described in the introduction. Cont-
emporary, transparent sound with vintage charm
probably describes it quite well. The Modal Cobalt8
can, therefore, definitely be kept in mind as a much
cheaper alternative - even if the analog filter there
was replaced by a digital emulation for cost reasons.
Both in terms of price and sound, the Roland
Envelopes with extras Jupiter-X plays on a similar level. Its sound genera-
Two ADSR envelopes for filter, amp or other des- tion is even more flexible and the excellent analog
tinations like pulse width or pitch (also inverse) emulations of Roland‘s classics impress with a pun-
complete the sound generation. What’s interes- chy hi-fi sound; but, due to the lack of an analog fil-
ting here is the adjustable delay time of Envelope 1. ter, it lacks the last bit of vintage character and thus
keytracking and loop functions extend the possibi- also a bit of a goosebump effect. Novation Summit
lities of the envelopes and turn them into additional offers a similar hybrid concept with flexible digi-
super-flexible LFOs, whose intensity can also be tal oscillators and an analog filter, but also sounds
controlled by velocity. The assignment of the modu- a bit more well-behaved and inconspicuous than
lation sources (including DDS2!) to the modulation the Super6. On the other hand, it offers more so-
destinations is done via a small modulation matrix. nic variety, not least of all due to the split and lay-
er options and the very good effects. Korg‘s Prolo-
Chorus and delay gue also combined a digital engine with an analog
As befits a synthesizer inspired by Roland classics, filter and is now available in an 8-voice version for
the end of the signal chain is followed by a chorus under 1,000 Euro.
that can be switched in three stages via two buttons;
but it can‘t quite keep up with the great models in Verdict
terms of sound. The same applies to the delay. You Sonically, the Super6 shows what optimized digital
only have access to intensity, delay time and feed- technology is now capable of. The oscillators sound
back. There are no options like ping-pong or even analog in a positive respect, with a powerful and
multitap, and the effect also sounds rather digital lively sound. The frequency modulations in the au-
in a negative sense and lacks warmth and liveliness. dio range also know how to please and do not sound
The effects in the current version should, therefore, harsh and exhausting as is the case with many other
be seen more as a practical addition for live perfor- digital synthesizers. The digital substructure has the
mance. In the studio, the Super6 with good external advantage that the options of the oscillators go far
effects, again, significantly improves. beyond what analog technology has to offer. Pai-
red with the excellent sounding analog filter, Super6
Apeggiator / Step sequencer excels at all standard analog sounds, be it warm and
Of course, there is also an arpeggiator, which is also li- wide pads and strings, creamy leads or rich synth
mited to direct access to rudimentary features. At least basses. The basic sound definitely leans in the direc-
it saves the order of the notes entered, so that sequen- tion of Roland, but with a certain American touch.
ces of notes beyond simple ascending or descending However, the hybrid concept also allows for sounds
sequences can be created. Swing provides further loo- full of character that go beyond the classic analog
sening up, a hold function frees the hands for further sounds. Super6 responds very well to high-quality
tasks like tweaking the sound. A classic step sequen- external effects. And if you then play the synthesi-
cer is also on board. It records up to 64 steps and zer via the excellent keyboard like a real instrument,
allows you to set slides, accents and pauses. You can goosebumps are guaranteed! Although this plea-
save 64 sequences and link them to sound presets to sure is not quite cheap, in this respect such a small
call them up together during live performance. company can not keep up with the
global players like Roland, Yamaha
Alternatives? & the like, however, in return you
Anyone who has had the pleasure of playing the get an extraordinary synthesizer of
Modal 002, which is, unfortunately, no longer the highest class, individually de-
avail­able as a new purchase, will be reminded of More Info veloped with attention to detail. r

CV/gate connections have been completely omitted, but there is an audio input for looping in other sound generators.

Beat 03 | 2021  •  79
HARDBEAT
Review

Review: MicroFreak Vocoder

The MicroFreak has been on the market for almost two years. Now this small hybrid synthesizer comes to the market
in a new design and as a surprising Vocoder Edition. And this is also for older MicroFreaks! by Jan Wilking

Features
Hybrid synthesizer
Touch keyboard with 25 MUST-HAVE
keys 03/2021
Digital oscillator
16-Band vocoder engine
Analog filter
Step Sequencer/­
Arpeggiator
256 memory locations
USB, MIDI, CV/Gate
Includes gooseneck­
microphone

Facts
Manufacturer: Arturia
Web: arturia.com
Distribution: tomeso.de
Price: 278 Euro
(Vocoder-Edition);
30 Euro (Microphone for
Standard-Edition)
J Hybrid synthesis
J Vocoder algorithm
J Clip-on microphone
J Analog filter
J Step sequencer
J Polyphonic aftertouch The included microphone simply plugs into the back of the headphone jack and can also be purchased separately to retrofit a „normal“ MicroFreak.
J CV/Gate outputs

T
J Attractive price he name says it all because the out- connected for listening and speaking. The processor offers various oscillator models,
n Short microphone neck standing new feature is the vocoder included gooseneck microphone ends on which can also be upgraded via firmware
Sound: algorithm, with which the Microfreak a four-pin (=3 rings) mini-jack plug, docks update. So the Microfreak first got a flexible
Features: can alienate voices and turn drum loops solidly with the plastic base and conveni- noise generator and, in the brand-new ver-
Price/Perf: or other audio material into rhythmic ently loops through the headphone output sion 3.0, three more oscillators from Noise
Total: pads. Similar to the Novation AFX Station, as well. Unfortunately, the neck of the Engineering with Wavefolding, Additive
the core technology remains unchanged, microphone is a bit too short, so that the Harmonic Color and Phase Modulation,
so owners of the „old“ Microfreak can also synthesizer either has to be placed high or which invite you to experiment. Also new
enjoy this new feature. you have to bend down a bit when singing is the 4-voice unison function for all
in. With a suitable adapter cable, however, oscillator types, including modulatable
Disguised microphone input you can also loop audio signals from a mi- detuning. Only the 12dB multimode filter
Alternatives But how do you get the microphone or xing console or DAW into the Microfreak. is analog. The predominantly digital design
Novation MiniNova another audio signal into the Microfreak? has the advantage that the MicroFreak
329 Euro After all, this compact synthesizer has New Design, identical core can be played polyphonically with up to
novationmusic.com no audio input! It does, but only the Externally, the Vocoder Edition stands four voices - despite the low price. The
Korg Microkorg developers knew this until now: the out with its white case adorned with swan analog filter is the only thing that all four
from 339 Euro headphone output is assigned similarly graphics. Nothing has changed in the core voices have to share, so it is an extended
korg.de to a smartphone, where a headset can be of the sound synthesis. A digital sound paraphony.

80 • Beat 03 | 2021
 HARDBEAT
Review

Polyphonic a
­ ftertouch, CV/Gate
The „keyboard“ consists of two circuit boards
with conductive tracks and works capacitively, so
it reacts to touch and needs skin contact to close
the circuit. Nevertheless, the keys are velocity-re-
sponsive, and by touching with more finger area,
polyphonic aftertouch is also possible! On the back
is the USB port for computer integration, which
can also take care of the power supply. Outputs for
CV/Gate, as well as pressure, make the MicroFreak
(in combination with the flexible arpeggiator and
polyphonic step sequencer) a great alternative to
the popular Keystep.

Vocoder algorithm
To use the microphone, the Mic Gain must first be
turned up in the Utility menu, a VU meter in the
display helps with the level or you can select the
automatic volume adjustment. A noise gate has also
been integrated to let only the desired vocal signals
through and no background noise, thus preventing
a feedback loop. With a suitable headphone splitter
cable, you can also loop in another sound generator
as a modulator for the vocoder instead of your voice. Thanks to the integration of a vocoder algorithm, it is now
There are three parameters for adjusting the optimal settings, but since every human voice is even more fun to perform live with the MicroFreak.

new vocoder algorithm, just like in all other oscilla- different, you‘ll need to experiment a bit with the
tor types. Wave fades the carrier waveform smoothly settings for optimal results. Verdict
from sawtooth to pulse wave with variable pulse You should not expect miracles in terms of spe- With the vocoder algorithm and the unmasked
width to noise. Timbre sets the frequency range in ech intelligibility or transparency, the MicroFreak audio input, the already exceptionally flexible
which the vocoder should operate. And with Sha- vocoder has more of a lo-fi charm and lives main- MicroFreak covers additional application areas and
pe, you adjust the bandwidth of the individual filters ly from the extensive post-processing options with invites experimentation. The integration of the
of the vocoder to emphasize certain sound ranges. analog filter, loopable envelopes, modulation mat- included microphone is thoughtfully solved; the
The 16 presets give you a good starting point for the rix, arpeggiator and step sequencer. modulation matrix and sequencer with parameter
recording provide a lot of movement, and the filter
gives it that analog touch. The capacitive keyboard
with polyphonic aftertouch forms
a creative input element and,
spruced up with external effects,
the MicroFreak sounds much
bigger and more expensive than
The rear panel even offers CV, gate and clock in addition to MIDI, so MicroFreak and Modular Racks get along just fine. More Info it actually is! r

Geschenke, die
die Welt verändern.
Für Menschen in Not ist sauberes
Deine Spende
Trinkwasser oft das größte Geschenk.
hilft uns, anderen
zu helfen!
drk.de/weihnachten

Jetzt für sauberes Trinkwasser spenden:

IBAN: DE63 3702 0500 0005 0233 07 BIC: BFSWDE33XXX STICHWORT: NOTHILFE Beat 03 | 2021  •  81
HARDBEAT
Modular review

POWERED BY
DOEPFER

Review: Chronovore
The 303 sequencer as a rack module? Here you go. With the unusually titled Chronovore, Michigan Synth Works
­deliver just that. And as authentic as possible, because the internal Pixie u650 processor emulates the original
­„operating system“ of the TB. Is that still up to date? by Marco Scherer

Features The Chronovore 303 sequencer

promises authentic patterns and
fun. Unfortunately, there is no official
puristic operation. manual at the moment, so the inclined
303 sequencer module
user will have to resort to tutorials from
CV-, gate- and accent-out the original.
MIDI input Accent, in turn, sends a simp-
7 songs le CV pulse that can be linked The advantages
to any parameter, such as the Once you have overcome the program-
32 patterns
filter resonance, if the result ming hurdles, however, the sun rises
is to sound like a 303. Outputs because this is when the module shows
are Gate, Pitch, Accent and in- its true strength: the typical hook-, bass-
puts are Run, Clock and MIDI, and acid-lines of the TB-303. In our test,
which can be used to synchro- we connected the sequencer to various
nize the module to external sound modules and were impressed on
sources. For the MIDI input, the one hand by how much an ordinary
the manufacturer provides an A-111 oscillator from Doepfer can sound
adapter cable so that any MIDI like a 303 when played by the appropri-
source can specify the clock. ate sequence and, for example, the filter
resonance is controlled by Accent. On

F
ans of Roland‘s TR-303 will probably The (beastly) sequencer the other hand, we were thrilled by the
cheer now, while others will scratch So far, so good and probably still com- results the Chronovore delivers together
Facts their heads and ask why you should prehensible. The matter becomes much with Plaits from Mutable Instrument
Manufacturer: Michigan build a sequencer from 1981 into the more complicated as soon as it comes to when accent changes the sound creation
Synth Works rack. Clearly, the 303 is famous for more programming the 32 available patterns. or affects the FM knob.
Web: than its sound alone, but also for its Where others display a number of the
michigansynthworks.com
idiosyncratic patterns, especially thanks current step and wait for input, the Verdict
Distribution: Website
to its characteristic slides and accents. Chronovore shows all the idiosyncrasies Chronovore is a very special kind
Price: $330 US Dollars
And with a sequencer like this, they can of the 303 original. of tool. The sequencer is extremely
J Authentic patterns be used with any sound. So is this the The sequencer distinguishes bet- authentic and, thus, a curse and a
J Memory locations
ultimate hookline machine? ween tracks and patterns, whereby the blessing at the same time. After all, in
n Awkward operation
seven tracks offer a kind of song mode 2021, this complicated kind of pattern
n Build quality
Feature overview in which patterns can be connected programming not only feels oldschool,
Build: The patterns in this module are up to 16 in series. The patterns are divided into but is cumbersome and, therefore,
Operation: steps long and contain one note value normal and pitch mode. The former is restricts the circle of users exclusively
Price/Perf: per step, which in itself already covers responsible for playback, the latter for to purist 303 fans. On the plus-side are
Total: all similarities with other sequencers. In entering notes, slides and accents. But the faithful and unique results - you‘d
addition, each step can be transposed this mode can only be called up when probably never create patterns exactly
an octave via the up or down buttons, the pattern is in write mode. Since the like this with modern sequencers. And
and slide and accent can be added. In current step is not displayed in any form, once you‘ve gotten to grips with the
contrast to the usual portamento on other the overview is lost more quickly and the way it works, there‘s no shortage of fun
sequencers, the 303-Slide does not start reworking of existing patterns is feasible, either. If you like 303 sequences, you
at the end of the note, but at its beginning but it is extremely awkward. So, if you will have great fun with this uncompro-
and also extends the current step into the have never used a 303 before, you will mising module. r
next one. This is of course a simplified likely be sitting there in despair in front
explanation, because the real magic of the module, because the programming
behind the slides is even more complex is anything but self-explanatory.
and that‘s exactly why they are so unique There are additional peculiarities,
and famous. Since Michigan Synth Works which we won‘t go into for reasons of
Alternative Chronovore has no sound generation of space, but the conclusion is the same: a
TSL Stepper Acid its own, the effect of the slides depends few hours of familiarization and practice
349 Euro heavily on the programming of the mo- are mandatory; otherwise, the module
transistorsoundslabs.com dules used. will not bring you the desired level of

82 • Beat 03 | 2021
The world’s smallest
stabilized camera.
Order now at: hardwrk.com
SPECIALBEAT
Feature: Psytrance Production

Hands-on: Psytrance
From idea to finished track
Crispy beats, staccato basslines and powerful, psychedelic hooklines – Project Info
Psytrance has lost nothing of its fascination since the early nineties and Material: DAW; Curve BE, OxeFM, Beatzille, BE-EQUA87,
continues to attract a huge fan base. Of course, we‘re making a contemporary Tyrell, Dune LE, Multiply, TB_Reverb from this issue‘s
magazine data.
track that shows Psytrance at its best. by Marco Scherer Time Required: About 2 Hours
Difficulty: Advanced

KICK

1 2 3
Kick & Bass Equalizing Emphasis
Psytrance has undergone a number of You can find a base of typical kicks on this The pitch of the track is supposed to be F#.
transformations over the years, has been month’s DVD. Alternatively, the BazzISM From a frequency table (see issue data) we
expanded to include contemporary elements, and Synth [1] is very popular with producers. We learn that the frequencies of F# are multiples of
always draws inspiration from other genres. But used the „BD Transfuser Prog“ sample that 23.12. So 46.25, 92.5, 185, 370 and so on. Set the
two ­characteristics have always been in focus: a we sampled from the plug-in of the same name. LF-Band to 92.5 and add 7 dB, the MF-Band to
powerful kick with a distinctive click and a heavy Since the bass drum has a lot of sub, we loaded 185 Hz and add 3 dB. The intensity varies depen-
bass, either as a rolling variant with 16th notes, an EQ behind it and cut away the frequencies ding on the kick. Turn Q full up on both bands
as an off-bass or in a triplet pattern. Often two below 40 Hz. For more emphasis on the body, we and turn off the EQ‘s limiter. r
variants are used in one track. 1 add two bands. 1

BASS

1 2 3
Basis Sub Sawtooth
For the kick, record a 4/4 pattern that’s eight Select the Triangle waveform, route the os- We mix the oscillator with Volume 0.55 and
bars long at 140 bpm, leaving the last bar cillator to Filter 2 only and set the 24 dB S-K pass it through both filters, one after the
empty. We will fill this with a bass variation later. LP low-pass variant there. With Cutoff at 117 Hz, we other, with Filter 1>2. For the former, we select the
First, the actual bass line: Load the Curve BE on a make sure that really only the bass happens. With type 24 dB S-K HP (high pass) and turn Cut-off to
new track, pitch both oscillators to -12 and turn this, Curve already delivers a nice foundation, but 104 Hz. This filters out the sub, which we already
Volume of Wave 1 to 0, Wave 3 to 0.81. OSC 1 will it’s still not very typical for Psytrance. This is becau- assign to Oscillator 2, but adds the desired, typical
take care of the prominent part of the sound, OSC se sawtooth waveforms play the main role here. So character. The sawtooth alone would not be pow-
2 will deliever the sub. 1 select the sawtooth waveform for Wave 1. 1 erful enough without the Triangle waveform. 1

84 •  Beat 03 | 2021 [1] www.ismism.de

 SPECIALBEAT
Feature: Psytrance Production

4 5 6
Filter Velocity Pattern
In the Mod Matrix, connect the EG with ma- First, create a 16th note sequence on F#1 We emphasize the off-beats, so we set all
ximum intensity to Cut2, so that the second and shorten the notes a bit so they don‘t odd 16th notes to full velocity, while a value
envelope acts on the filter. For the EG envelope, play full-length 16th notes. Delete the first note of 100 is sufficient for the rest. We lower the
we set Decay to 34 ms and Release to about of each quarter to give air to the kick. For a velocity of the first 16th note to 40. This way it
400 ms. Attack and Loop remain at 0, so Filter less rigid pattern, we vary the velocities of the grooves more, but it sounds exciting in a different
2 snaps open very briefly and then only lets the notes. This can have a very significant effect way. So we shift some notes away from F#1. For
low-frequency bass through. So far so good. Now on the groove, so be sure to experiment with the beginning, we recommend jumps of a whole
we need the right sequence for the bass. 1 different velocities. 1 octave or a semitone and no more than three
jumps per bar. r

HOOKLINE

1 2 3
Drive Supersaw Melody
The beat alone doesn‘t make a track, so we add We leave OSC 1 on the Sawtooth waveform, To do this, set DETUNE to 9 o‘clock and
a little melody to it. As with the bassline, 16th but turn up FAT a little. Add some NOISE SPREAD to full blast. As before with the
note staccatos and arpeggios are the order of the (LEVEL at 9 o‘clock) to give the sound more punch bassline, we take a 16th note pattern on F#1 as
day, with wild filter rides providing action. Analo- in the later mix. We set CUTOFF to 11 o‘clock, a basis and transpose about half of the notes
gous to Trance and Hardstyle, the use of Super- ENV to 3 o‘clock and turn the DECAY knob only upwards. Again, steps of one or 12 semitones are
saws is almost mandatory for Psytrance as well. As of the FILTER ENVELOPE to 11 o’clock; all other recommended, with discreetly interspersed devi-
a basis for our hook, we fall back on the Synapse knobs to 0. We create the Supersaw by turning ations. Embellish the sound with plenty of Delay
Audio Dune LE and load the Init preset C128. 1 up the VOICES knob to 1 o‘clock. 1 and Reverb. Later in the track, automating Cutoff
adds some excitement. r

ACID

1 2 3
Beatzille Accent Movement
Similar to the Supersaw, the 303 also has Set the Fractalize knob to 9 o‘clock and The LP6 Lowpass Mode is rougher in sound.
a duty to make an appearance in a typical select Saw Mode next to it. With this control With the Gain and Resonance controls
Psytrance track. The lengthy opening and closing alone, you can create „swirly“ sounds. For the set to 3 o‘clock, the filter pleasantly goes into
of the filter, in combination with the resonant snapping sound which is so typical for Acid, we overdrive. As a basis for the sequence, we take
swirling, is virtually synonymous with „trave- use ENVELOPE 2 with DECAY at about 30%, the bassline pattern, but shift the notes a 16th to
ling“ in music. But Roland‘s classic is not always connected with PD at full intensity, as well as with the right and fill the gaps. Now just automate the
employed for this purpose, modern synths also Fractalize at 1 o‘clock (as shown in the picture). two Fractalize controls and the sonic journey
provide suitable sounds - like our own Beatzille, We connect OSC 1 Volume to the FILTER and its can begin. r
which we load into the DAW. 1 LP6 to OUT 1. 1

Beat 03 | 2021  •  85
SPECIALBEAT
Feature: Psytrance Production

FILTER FX

1 2 3
Filter Run Modulation Staccato
As already mentioned, Sawtooth waveforms This makes the filter act as a Highpass Filter. We record the pattern for this on-the-fly:
play a big role in Psytrance. So, they also set Set CUT to 0 and RES to 5. We create the Play in individual F# notes of different
the tone for many effects. One of the most im- characteristic effect by modulating both Pitch octaves according to your own taste. Then,
portant effect sounds is created with the Tyrell. and Cutoff simultaneously via the Pitch Wheel. quantize the notes and place two very short 16th
We only need OSC 1, so we set its volume to 10; In the OSC MOD section, therefore, we select 24 notes in front of them to emphasize the staccato
all others are set to 0. For the waveform, we set it semitones at a time for PITCHBEND and specify effect. After Tyrell, we set a 3/16 delay with 40%
to Saw, of course. For the Filter, we select LP/HP PitchW as the source for FILTER MOD 2 at full feedback and at 40% wet. Behind this, again, we
and push MIXSPR all the way up. 1 intensity. For more dirt, we turn FEEDBACK to load a compressor that only applies a moderate
center position. 1 amount of compression. r

RISER

1 2 3
FM Synthesis Operators Velocity
Other features are, on the one hand, the use We want to hear the result of the modula- Since operators in FM synthesis modulate
of harsh FM sounds and, on the other hand, tion of the two Operators, so we turn up more or less violently depending on their
the permanent automation of their properties to the volume of C fully in the penultimate control volume, velocity plays a major role. The harder
keep sound and flow in motion. With the Oxe FM line. For Operator C, we select the Saw wave and you trigger a note, the louder Operator A is, and
synth, we assemble such a representative and im- transpose it 2 octaves up via COAR(se), while the more prominent its influence on C becomes;
mediately use the first preset as a template. Turn Operator A is transposed 2 octaves down. To therefore, we record a simple pattern, but let
all controls of the Mod Matrix (via double-click) to prevent A from permanently affecting C, we set the velocity rise and fall steadily to make the
0, except the connection from A to C. 1 Attack to 8 o‘clock, Decay to 11 o‘clock, Sustain sound lively. r
to 0 and Release to 10 o‘clock. 1

ETHNO SOUNDS

1 2 3
Origin Samples Effects
Due to the origin of Psytrance in Goa, many Even the sound banks of some large rom- For the Chorus, we use the freeware Multi-
artists and tracks are inspired by the instru- plers and samplers such as Kontakt or ply from Acon Digital and its „Honky tonk“
ments and moods there. The corresponding HALion usually contain a section for ethnic preset. This make the vocals wider and creates a
sounds are to be found in abundance in the form sounds. We help ourselves to the „MidEast nice wafting effect. With TB_Reverb, we set the
of drums, vocals and emotions. So we want to Vocals“ button pack from Rast Sound [4] and REVERB TAIL to 4 seconds, MIXER to 50%. The
garnish our track with vocals as well. Material can load the DUYGU_LONG_2_Cs.wav sample into the EQ ends up cutting away only the frequencies
be found at sample providers like Loopmasters DAW. The good lady sings in C#, so we transpose below 300 Hz to keep the bass range tidy. Have
[2] or Prime Loops [3]. 1 her 5 semitones up to F#. On the track, we load a fun with further tinkering! r
Chorus, a Reverb and an EQ. 1

86 •  Beat 03 | 2021 [2] www.loopmasters.com [3] www.primeloops.com [4] www.rastsound.com

 SPECIALBEAT
Feature: Psytrance Production

Hands-on: Create your own drums with synths

CREATING DRUMS

1 2 3
Psytrance Kick Clicking Bounce
With their crisp attack and bone-dry body, Psy For the envelopes, we set Decay to 5% As a second effect, we load a Limiter,
Kicks are unmistakable. For more freedom in and 13%, Sustain to 0%. The faster ENV which is allowed to intervene violently
the track, it‘s a good idea to build the kicks your- 1 is responsible for the initial click, while ENV 2 to compress the sound. Bounce the kick to an
self, which we do with the Thorn Solo synth. For generates the belly. We set the intensity of ENV 2 audio track and cut away a bit at the beginning
OSC 1, we select the Triangle waveform, activate to 33%, for ENV 1 to 43%, although you can vary so that the crackle can just be heard. Tip: Load
the Filter and turn DRIVE to 11 o‘clock. In the the click here. After the Thorn, we load the plug- the sample into your sampler and modulate
MOD MATRIX, we connect Env 1 and Env 2 with in La Petite Excite and turn High to 3 o‘clock. 1 Pitch again by 8 - 12 semitones via envelope with
All OSC Pitch. 1 Decay 150 ms. r

MIX BUILD
Kick and Hat All 16ths Percussion
Psytrance Beats are usually As with the bassline, 16th note- In the space between the kicks,
characterized by their straight- based rhythms are usually found on you can add percussion or short
forwardness - Kick on one, Snare the beat as well - more specifically, effect sounds that can break
on two and an open Hi-Hat in on closed hi-hats and shakers. We up the otherwise rigid groove
between. The placement of a use a shaker to fill the 16th notes and, incidentally, provide more
closed Hi-Hat on the kick is between closed and open hi-hats. fullness in the panoramic field.
almost mandatory.

1
Cleaning with EQ
Where other music styles can be rough and
dirty, Psytrance is almost clinically clean.
That‘s why we EQ out the frequencies below 200
Hz on all drums except the kick. Behind this, we
load a very short reverb and mix only so far that
it is just audible. This creates stereo width and
punch in the overall mix. 1

2
Exciter and Limiter
Ghost Kicks & Drops Fill-ins
To get the beat as brilliant and consistently
punchy as possible, we route all the drums Dropouts of the kick at the beginning of the Kick and snare fills play every eight or
bar and ghost notes are often used to set small 16 bars. Tip: create a snare fill and push
(and the bassline) to a bus track and load La accents in the groove. With dropouts, a crash or some notes onto the kick. Then, the two
Petite Excite there, but this time with moderate short noise sound is placed instead of the kick. don‘t get in each other‘s way and the fill
settings: Low to 0.4 and High to 1.2; otherwise, is more interesting.
the result will be too harsh. Finally, we use the
Ozone Limiter to ensure constant loudness. r

Beat 03 | 2021  •  87
WORKBEAT
Workshop

OffBeat:
Beat workshop with Florian Pilz
The universal translator
There are many reasons why we choose a particular electronic musical instrument. One of the main arguments is
of course the sound, but other aspects always play an important role. It is frustrating when an otherwise great
instrument cannot be integrated into one‘s setup as desired due to a lack of functionality. Fortunately, there is a
solution for a growing number of sound generators.

W
e‘re talking about the RetroKits RK-002 ser supports MIDI by itself. A power supply unit
Active MIDI Cable. At first glance, this is not necessary, the electronics are supplied with
inconspicuous-looking device can hardly power via MIDI.
be distinguished from a conventional MIDI As a high-end drum sampler and sequencer,
cable. Only an orange plug indicates that there the Digitakt is popular with many musicians, but
is more going on behind the scenes than mere there are some limitations due to the underlying
signal transmission. The built-in microproces- concept. (Fig.  4). The manufacturer does not in-
sor is capable of performing a variety of tasks, tend to play the internal samples polyphonical-
whether it‘s translating MIDI messages or acting ly. Although there is a sequencer in the Digitakt
as a sequencer, arpeggiator or even VJ tool. Ori- for such an application, it can only control exter-
ginally designed as an add-on for the Korg Volca nal instruments. The RK-002 allows the Digitakt
Sample, it is now possible to extend the feature to be addressed as a polyphonic sound generator,
set of a variety of synths and grooveboxes. In 2. Firmwares from the manufacturer as well as self-pro- the microprocessor takes over the dynamic assig-
the author‘s collection of instruments there are grammed applications from the community can be loaded nment of the MIDI notes to individual voices. If
onto the device via a browser interface.
three devices (Korg Kaossilator, Korg Volca Sam- the above-mentioned sequencer is to be used as
ple, Elektron Digitakt) that are compatible with a source, it is necessary to connect the MIDI in-
the RK-002 (Fig. 1). The focus of this article is the put and output of the Digitakt using the RK-002.
interaction with the Elektron Digitakt. A disadvantage of this approach: In order to con-
tinue playing the Digitakt with an external key-
board, the corresponding MIDI signal must be
fed via USB, i.e. a DAW or a USB-to-MIDI host.

3. MIDI loop for transferring the firmware.

1. After firmwares were

The numerous firmwares of the simple device,
already available for thre
i­ nstruments from the auth e which are in many cases tailored to specific sound
or‘s collection, the purc
the RK-002 was obvious hase of
. generators, can be easily changed and updated at
any time using a browser app (Fig. 2, 3). The use synth and
4. This way the Digitakt becomes a polyphonic
of Chrome is recommended here, as this brow­ creative sequencer. The internal MIDI sequencer
and its
controllers are used to control the RK-002.

88 •  Beat 03 | 2021

 WORKBEAT
Workshop

Everyone is talking about Euclidean sequencers

(Fig.  5). Regardless of whether within a DAW or as
part of a modular system, this type of sequencer,
which is based on an algorithmic equal distribu-
tion of musical events, plays a major role in many
genres. The theoretical basics are beyond the
scope of this article, but even a complete lack of

6. Originally only playable via the internal pad and control

changes, with the RK-002 also with the master keyboard: Korg
Kaossilator Pro.

patches for experimental playback of lo-res video

material (Fig. 6). There is also the possibility to be
creative yourself and to program your own appli-
cations for the RK-002 with the Arduino IDE. This
is an open source idea that fortunately is gaining
importance with more and more manufacturers. Florian “AudioPilz” Pilz worked
for many years as a sound engineer,
sequencers. The Links sound designer and music producer
5. Euclid is the namesake of Euclidean
in practice is intuitive and runs a YouTube channel. With his
theory may be complex, but using it RetroKits:
and uncomplicated. www.retrokits.com Bad Gear Show he not only inspires
his audience, but also brings a breath
Tutorial RK-002 and Digitakt:
knowledge of these principles, which are also re- of fresh air into the studio by giving
www.youtu.be/8fQXK7J1txc
levant in particle physics and computer ­science, supposed „bad gear“ a new glory in
is no obstacle to the intuitive use of these com- The Euclidean algorithm generates traditional musical rhythms, contemporary tracks and jams.
G. T. Toussaint, Proceedings of BRIDGES: Mathematical
position tools. Connections in Art, Music, and Science, Banff, Alberta,
The RK-002 has sequencers, optimized for Canada, July 31 to August 3, 2005, pp. 47–56. www.bit.ly/AudioPilz
http://cgm.cs.mcgill.ca/~godfried/publications/banff.pdf
the Digitakt. Control via one of the internal MIDI
tracks is also possible here. The higher the value
of the control change commands sent, the denser Warning
the equally distributed rhythm patterns become. The modifications described here are not
Of course, other instruments can also bene- supported by the manufacturers, can shorten
fit from the use of the RK-002, not only through the warranty period and in the worst case
make the device unusable. So they are only
custom firmwares that allow, for example, the suitable for sound engineers who are willing
Korg Kaossilator to be played with a MIDI key- to take risks.
board. But also through a universal arpeggiator or
N
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Beat 03 | 2021  •  89
ONSTAGE
DJ Interview

DJ-Interview: Anja Schneider

Society is failing!
DJs and booking agencies have been hit particularly hard by the pandemic. Not only are they faced with an
­occupational ban. They also lack political representation. To get their concerns heard, 170 agencies and 2,000
artists have set up “Booking United”. Anja Schneider is one of the new organisation‘s most familiar and passionate
­spokespersons. In her interview with Tobias Fischer, she comes to a sad conclusion: So far, the political response has
been an almost complete failure.

Beat / Just like many of your colleagues, you‘ve federation are accepting responsibility. We can‘t we are obviously expected to pay our taxes here in
been personally affected by the pandemic. How accept that, neither can we accept that we‘re not Germany. But when it comes to support payments,
did you use the forced time off from DJing? getting the same support as other parts of the eco- these are suddenly calculated on the basis only of
Anja Schneider / It didn‘t feel like a time-off, nomy. It‘s important that we build a strong lobby our domestic gigs … wow … The car industry cer-
that‘s for sure. For one thing, I was in the studio and that our voice is heard. tainly couldn‘t only declare their domestic sales,
a lot. I released three new EPs on my label Sous just like Lufthansa couldn‘t only get support based
(“Seduction”, “Boundless Beings” and “Turning Beat / Could it be that many people simply aren‘t on their domestic flights. It‘s like Germany is enti-
My Head”). I contributed a track to the “Marble aware of your problems? rely ignoring culture as an export product. And to
Bar Detroit” charity-compilation and reworked Anja Schneider / I think they have no idea what the think this is happening in a country with such a
my old piece “Dubmission”. I also present a pro- event-scene in Germany is capable of and how criti- rich tradition of poets and thinkers.
gram on Radio Eins, called Club Room. As part of cal it is for our society. We need to promote the arts,
that program, I run a series of interviews on how and we need to focus on subculture in particular. Beat / You‘ve set up a paper summing up your
the pandemic affects artists and the creative scene. demands. One of them contains a step-by-step
Some of the talks with people like 2raumwohnung, Beat / Dixon gave a few interviews, in which he return to clubbing. What could this look like in
the Watergate crew or Henning Wehland were fan- talked about the pandemic and Booking United. practise?
tastic. On top of that, there‘s my own talk podcast Unfortunately, it seemed as though the only thing Anja Schneider / We‘re looking at the bigger pic-
“Club Room BACKSTAGE”. Ich am trying to move many people took away from this is that he‘s com- ture here and a scientific, medically founded
things on a political level with Booking United plaining from a privileged position. concept. We don‘t want to rush this. Over the Sum-
and have started writing a book. I‘m certainly not Anja Schneider / I can‘t tell you how angry this mer, many organisers have proven that it‘s possible
bored, let‘s put it that way. made me. We have the exact same issue whenever to set up gigs and club events, provided there‘s a
major stars like Herbert Grönemeyer or Udo Lin- strict hygiene concept and smaller groups of peo-
Beat / Your work with Booking United should denburg take a stance. We need powerful artists ple. We can do this. But we can‘t allow having a
give many of those affected by the pandemic hope. making powerful statements. Dixon was the first good time to turn into a luxury item.
When did you realise that you had to take collec- and only one of the big artists to argue our case and
tive action? to be honest, I was somewhat disappointed there Beat / It does make you think about the future of
Anja Schneider / I would say it became clear right in haven‘t been more. the scene as a whole. What are your thoughts on
the middle of March that we had to found our own the long term effects of the pandemic on clubbing
organisation to make a change. Today, we represent Beat / Can you describe what the situation is like and DJing?
around 170 agencies and management companies for the majority of your members? Anja Schneider / Personally, I‘m not a big fan of
as well as 2,000 individual artists. This allows us to Anja Schneider / All of our members have a full- streaming. I just need the personal interaction with
specifically target our needs and problems. Even time job in the event scene. Since March, none of the crowd. One thing‘s for sure, local scenes are
though that‘s a pretty big group and although we‘re us has an income anymore. Imagine that. If you‘re going to become more important and I doubt we‘ll
an important part of the cultural ecosystem, we are a recording artists, you can still go into the stu- keep flying around the world like we used to. But
still under the impression that our concerns are not dio and at least release something. But that‘s not musically, things are sure to remain exciting.
being heard and taken seriously. To make a change an option for our agents and managers. Many of
requires a lot of work and motivation. them are self-employed and now need to live on Beat / If the situation persists, a big chunk of the
the lowest level of German state support. To me, scene may disappear.
Beat / Why do you think has there been so little this is a clear sign that we, as a society, are failing. Anja Schneider / Thankfully, we are being heard
concrete help so far? Do you feel as though the and we‘ve talked to a lot of politicians. Very slowly,
fact that the scene is so concentrated in Berlin has Beat / One point you‘re singled out is the fact that but surely, they‘re beginning to understand our
made it harder to present your case on a natio- DJs can only get support for the fees they‘ve earned situation. But if it really came to a collapse, it
nal level? here in Germany – which is a tiny fraction of their would be a disaster! We need the clubs as places of
Anja Schneider / It‘s true that we have a higher overall income. That seems like a somewhat dated refuge, as spaces for self-discovery. We need them
visibility in Berlin compared to other cities here. view of the way things work these days. for inspiration and for letting go. r
Still, this problem affects all of us, in fact, it affects Anja Schneider / To me, it feels like a slap in the
the entirety of Germany as a cultural nation. face. When DJs – and classical artists, too, by the www.booking-united.org
Right now, neither the individual states nor the way – make money with performances abroad, www.anjaschneider.com

90 • Beat 03 | 2021
 ONSTAGE
DJ Interview

It would
be a disaster! «

Beat 03 | 2021  •  91
ONSTAGE
Review

Review: Denon DJ Prime Go

The Prime Go standalone DJ workstation from Denon wants to enter a new dimension of portability. This
test shows which features the battery-powered mobile console has to offer and how it performs in practice.
by Philipp Sterczewski

Features the mixing console. But the equalizer

sounds good and knows how to interve-
Compact
ne properly in the frequency spectrum.
2-channel DJ-controller
7 Inch HD-touch-display
Sound feed
Battery operation for up The music can be streamed via the SD card
to 4 hours slot, the USB ports or via LAN / WLAN.
Dual-bank performance In addition, you get a free three-month
pads trial membership to the streaming service
WLAN operation for provider Tidal. It grants access to more
streaming than 60 million songs. The Beatport link
opens the gates to nine million electronic
Assignable effect module
music songs. Use of the SoundCloud Go+
Aux input streaming service is included. Audio files
The DJ Workstation with
1 USB Port, a 7 inch color-touch-display. in the formats AAC, AIF, FLAC, MP3, MP4,
1 SD-Card Slot Ogg Vorbis, and WAV can be played.

A
fter the successful launch of the song folders via gestures, and creating Practice
Prime 2 and Prime 4 DJ controllers, playlists and crates is also no problem. In terms of workmanship and reliability,
Denon surprises us with Prime Go Previewing music before loading is the Prime Go makes an excellent impres-
- a fully comprehensive 2-channel, bat- realized via the track preview. sion; however, one of the most impressive
tery-powered standalone solution. The advantages of the DJ workstation is its
most striking feature is the very compact Decks and mixer portability. Thanks to the battery opera-
design, which allows mobile DJs in par- The decks and mixer section, on the tion of almost four hours, DJ sessions can
ticular to complete a professional DJ gig other hand, are very compact. In order be spontaneously produced on the beach
Facts in a backpack. to fix the quantizable start positions of or during other outdoor activities. The jog
Manufacturer: Denon DJ the songs, each deck has four rubberized wheels are stable and precise, and with a
Web: www.denondj.com Connections and display non-slip performance pads as hot cues, bit of practice, clean transitions are always
Price: 1075 Euro The back of the DJ workstation is equip- which can also be used for loops and possible despite their small size.
J Standalone workstation ped with two microphone inputs, so that rolls. They feel very good, while the jog The thirteen effects (such as Filter,
J Battery operation the DJ and another person can be heard wheel underneath is very small due to Reverb and Delay) can each be modified
J Portability for the purposes of presentation. The the configuration. After some initial rudimentarily by various parameters, but
J 7 Inch colour touch connection for external players, such as practice, however, it can be used to make are qualitatively successful throughout
display CD players or smartphones via the aux adjustments just as precisely as the jog and stimulate the creative potential when
J Effects
input is praiseworthy. In addition to the wheels of its big brothers. The pitch fa- DJing. After longer live operation, you
J Aux input
XLR master output, there is also a jack ders are also proportionally quite short, realize that all important functions are on
J Streaming over WLAN
booth output. Two headphone outputs but work with pleasing precision. The board that are necessary for a professional
n Jogwheels are some-
what small have been provided on the front. fader resistance is comfortable without DJ mix, although at first glance it may
The high-contrast, high-resolution seeming too loose. seem to be rather reduced.
Build Quality:
7-inch color touch display, behind This also applies to the channel
Technology:
Price/Perf: which the operating software Engine OS faders in the mixer unit, whose LED Verdict
runs, is comparatively large. The user meter displays are definitely too short With its 2-channel DJ workstation Prime
Total:
can easily scroll and navigate through for reliable level indications. Two of 13 Go, Denon opens up a new market segment
assignable effects can be activated above of battery-powered standalone controllers
each of the volume faders, which provi- that is, so far, unique in its compactness
de creative mix intervention in addition and portability. The price/performance
to the Sweep FX filter control. ratio of this device is
The arrangement of the 3-band really okay and in terms
equalizer, which includes the level of quality, Prime Go is in
control per channel, is a bit unusual, as no way inferior to larger
Alternatives they are placed next to the touch display controllers in terms of
None above the respective decks instead of on More Info professionalism. r

92 • Beat 03 | 2021
sustainable and
eco-friendly

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ONSTAGE
Review

Review: Rane Seventy & Twelve Mk2

Together with the Twelve MKII turntable controller, the 2-channel Seventy mixer promises Serato DJ Pro disciples
vital scratch battles. Get to know the innovations and practicality of these DJ tools from the house of Rane here.
by Philipp Sterczewski

Seventy The 2-channel Battle Mixer Seventy with the

Turntable Controller Twelve MKII.
2-channel Battle Mixer
6 Dual Flex FX
16 MIDI-capable MPC Pads
3 Mag-Four Faders
1 Sampler Channel
Dual Microphone Inputs

Twelve MKII
Turntable Controller
8 Hot-Cues

A
4 Selectable Serato Decks n exciting DJ setup that embodies (Echo, Reverb, Brake, Flanger, Phaser Twelve MKII
digital DJing fun with an authentic and Delay) or the software effects in Se- The Twelve MKII vinyl controller, which
33/45 RPM
vinyl feeling is formed by the new rato can provide the spice. Even though weighs just under ten kilos, is extremely
Adjustable Torque scratch mixer Seventy in combination the intensity is controllable for each sturdily built and comes with an at-
1 USB Port with the Twelve MKII turntable as a channel, unfortunately, only one FlexFX tachable 12-inch platter. Compared to
controller. The Serato DJ Pro license is can be used at a time for both channels its predecessor, it can output a timecode
Cinch Stereo Out for DVS
included with the DJ software. unless you use the software with up to carrier signal for suitable DVS software
12“ Control Vinyl
three effects for each channel. via the RCA jacks or rock the club as a
Properly Connected In addition to the effects, loops can MIDI controller for Serato DJ Pro via
The rear connections of the Battle mixer be set. Among them are eight pads per USB. Control with Traktor and Virtual DJ
allow each deck to feed one aux signal or channel, which can be used to define has been thought of as well. Included in
phono/CD signal with RCA connection. song positions as hot cues. Spontaneous the package is a nicely grippy 12“ acrylic
Facts The Session connection offers an additi- remix interludes with rolls and incoming control vinyl plate.
Manufacturer: Rane onal input and output. samples are also possible thanks to The Start and Stop button, which can
Web: rane.com
There are also two XLR microphone dedicated buttons. If no players are be pressed down deeply, awakens many
Price: 1919 Euro
inputs and two monitor channels. You can connected, the music can be started or nostalgic feelings, just like on earlier
(Seventy); 1019 Euro
(Twelve MKII) switch between the sources on the mixer stopped via the transport function and turntables. Playing the eight hot cues is
using the source control per channel. The the pitch can be changed. also conveniently solved, as is switching
J 9 Inch Color-Touch-
Display (Seventy) two USB ports have the advantage that between four different virtual decks. The
J Effects & Lock-­FX two DJs can play together. Two additional Practice scroll/loader also proves to be a useful aid
Switch (Seventy) USB ports are provided for Twelve turnta- The effects are not only first-class for for navigating quickly through playlists.
J Mag-Four Fader bles. This connection works smoothly and creative transitions, but they sound really The torque can be adjusted via a switch
(Seventy)
also runs stable without any time delay. good. The mixer‘s high-end quality is (Hi/Low) underneath the turntable.
J Switch Between Four
Decks (Twelve MKII) Only the two headphone outputs are also evident from the dynamic range of
J Vinyl Feeling located on the front. 114 dB. The glow-in-the-dark rubberized Verdict
(Twelve MKII) RGB pads also powerfully raise the enter- The interaction of the Seventy mixer with
Build: Effects and Pads tainment factor when battling, including the Twelve MKII turntable controller
Features: The central elements below the effective sample fill-ins. There‘s also the fun of worked smoothly and without noticeable
Price/Perf: 3-band equalizer and the display are the using the small FX joystick to switch latencies, with impressively good audio
Total: Lock FX toggle switches and six effect between decks and beats directionally. quality on the part of the effects. The pro-
buttons. Depending on the purpose Mixing with the new, contactless sliding mise of the wear-free reworked Mag-Four
of use, either the onboard Flex effects Mag-Four faders is also a comfort gain faders is another selling point. The con-
compared to the predecessor. Our venient workflow with
enthusiasm for the Twelve controller is instant access to all im-
Alternative also very high. Long-serving DJs should portant controls makes
Pioneer DJ DJM-S11 certainly approve of scratching with up to the team attractive for
www.pioneerdj.com four decks without dust-catching needles much more users than
1,999 Euro and needle jumps. More Info just oldschool DJs. r

94 • Beat 03 | 2021
 ONSTAGE
Power Producer

Power Producer: Ableton Push

More oomph for your sound
Interesting and lively sounds are what catch the ear the most. Live‘s Project info
­instrument devices offer many ways to tweak the sound. Where LFOs for Material: Ableton Live Suite, Ableton Push
parameter modulation are lacking, Hacktive‘s free Max for Live device Time required: 30 minutes
Content: Multiple parameter automations using
multiLFOs can help out. Here‘s how you can use this tool to help out a boring multiple LFOs via a single Max for Live device;
bass. by Maya C. Sternel configuration and mapping of Operator and multiLFO;
real-time control of the parameters of the individual
LFOs via Push.
Difficulty: Advanced

1 2 3
Operator sound Install multiLFO Activate LFO 1
Load an Operator into a track. Set the Copy Oscillator A to all other oscillators. To The multiLFO plug-in contains four inde-
Decay time of Oscillator A to 1.41 ms and do this, right-click on the Operator display pendently adjustable LFOs, each of which
the Release time to 20 ms. The short decay to open the context menu and select the Copy can modulate up to 4 parameters. Click on the
affects how fast the volume modulation starts. Oscillator Settings to Others option. To be box with the 1 in the center of the multiLFO to
Choose Algorithm 8 for routing the oscillators, able to modulate any parameters now, down- select the first LFO. Then select the box labeled
with Oscillator B routed to A and Oscillator D load the multiLFO plug-in from Hacktive [1] and On to activate the LFO. To view, click on the red
routed to C. 1 drag it into the track. 1 circle in the upper right corner. 1

4 5 6
Parameter mapping Modulation Game control
Select map. In the parameter mapping Now select Oscillator 2 in multiLFO and Map the Filter Frequency to another map-
window that now opens, select a Map button activate it. Open the mapping window via ping point of LFO 2. Set minimum to 35%
and then route the Level of Oscillator B from the map and route the level of Oscillator D from and maximum to 64%. Map the Operator‘s filter
Operator to it by clicking on it. In multiLFO, select Operator to a Mapping Point. Select Triangle resonance to a mapping point of LFO 1 and select
Down as the waveform. Activate Sync mode for as the waveform and set Rate to 0.37 Hz. Also for minimum 9% and maximum 42%. Group
the Rate and finally, set a rate of 1/24. 1 activate the filter in Operator. 1 the multiLFO and map Rate, Depth, Shape and
Smooth of each LFO to a macro knob. r

[1] maxforlive.com/library/device/6704/multilfos Beat 03 | 2021  • 95

ONSTAGE
Latest Releases

Music reviews by Sascha Blach

cEvin Key: Xwayxway Lijnenspel: Compression

The exact name of this project is cEvin Key And The Subconcious Electronic Interesting experiment. Three hours of drones compressed to just 30MB. In
Orchestra. And all too often what Mr. Key is playing really sounds like an electronic contrast to the daily flood of information, British graphic designer Mark Webster
orchestra. While his main band Skinny Puppy seems to be out of breath, the encoded synthesizer recordings into low-resolution MP3s for so long that in
Canadian is in top form on solo paths and delivers a demanding, cinematic the end only artifacts remained and the original signal had disappeared. What
album with countless facets somewhere between post industrial, soundtrack and IDM. In some remained were calming soundcapes with extremely low bit rates that must not be changed, which
numbers there are great vocals from guests like Edward Kaspel (The Legendary Pink Dots) or Chris is why this release is not available from streaming providers who bring everything to a uniform
Corner (IAMX). The majority of the songs, however, remain instrumental. Whether it‘s experimental resolution. The audio material sounds slightly different on each playback device, as new artifacts
soundscapes, intricate or more song-serving structures, Key manages to make all pieces sound can appear during decoding. This gentle background noise, which can easily put you into a state of
somehow exciting. It is therefore worth exploring the depths armed with headphones, because meditation, is only the first part of a larger overall cycle with the title “Info”.
there is a lot to discover. Genre: Drone | Label: Eigenvertrieb, Bandcamp
Genre: IDM | Label: Artoffact

Danielle de Picciotto: The Element Of Love Mr. Mibbler: The Long Journey
Some of you might know the American artist, who lives in Berlin, from her colla- With the band name, these Norwegians prove their humor. The musicians Thom
boration with her husband Alexander Hacke (Einstürzende Neubauten) under Hell, Vidar Ersfjord and Jorn Raknes move in the broadest sense in the ambient
the name hackedepicciotto, as a singer for Crime & The City Solution or as a solo genre on their second long player, because there is something Brian Eno-like in
artist, because „The Element Of Love“ is already the third solo album by Danielle many of the pieces. Their music is largely calm and spherical in nature, nourished
de Picciotto. It appears - logically according to the title - on Valentine‘s Day 2021 and offers a mix by electronica set pieces and effect-treated guitars as well as all kinds of flat sounds that create a
of spoken poetry, experimental electronica, ambient soundscapes and melancholic-melodic violin wide space. The album covers a wide spectrum, from extremely delicate, very filigree parts to slightly
playing. The lyrics are meant to reflect the broken heart of society and remind us of our inner beauty threatening drones. The songs were created over the distance via data exchange, whereby the long
amid the destruction. An album full of mystery, depth and poetry, but for which you should have a back and forth found its echo in the album title „The Long Journey“. An album worth listening to by
preference for the spoken word, as this element is central. a rather unknown band that has what it takes for a long journey in the player.
Genre: Electronica, Ambient | Label: Broken Clover Records Genre: Electronica, Ambient | Label: NXN Recordings

Fïx8:Sëd8: The Inevitable Relapse Martin Gore: The Third Chimpanzee (EP)
Also on his fifth album Martin Sane remains true to his chosen path and offers If you know Martin Gore from Depeche Mode, you certainly wouldn’t expect such
sophisticated industrial that has an almost cinematic quality. For good reason, music. Martin‘s first solo album “MG”, however, is more of a clue as to what to
Fïx8:Sëd8 are more often considered the German equivalent of Skinny Puppy. expect. The 5-track EP lets us jump into the worlds of minimal electro and techno.
Although influenced by the Canadians all too clearly - musically and vocally - the It‘s a rough electro recording that was made in the Electric Ladyboy studio in
musician still manages to add enough of his own to this sound. Thus, similar to the two predecessors Santa Barbara, California. Martin apparently placed little value on beautiful melodies and grooves,
„Foren6“ (2017) and „Warning Signs“ (2019), „The Inevitable Relapse“ sounds like a mix of indus- because the pieces on “The Third Chimpanzee” are abstract, dark and often dissonant. In addition,
trial, EBM and soundtrack - garnished with lots of atmosphere, effects, darkness and an interesting the purely electronic compositions are also completely instrumental. Gore himself doesn‘t find
sound design. A bombastic, tricky album that is best dissected with a lot of time to fathom the the sound human, but rather primate-like, which inspired him to the title „The Third Chimpanzee“.
many small details. Certainly a challenge for some Depeche Mode fans, but lovers of experimental electro sound should
definitely listen.
Genre: Electro | Label: Dependent
Genre: Electro | Label: Mute

Imperative Reaction: Mirror Orlando Voorn: Internal Destination

For almost a decade, the Los Angeles based project, which had released six You don‘t have to introduce Orlando Voorn to techno fans. The Dutchman has
albums from 1999 to 2011, had been silent. The new longplayer „Mirror“, which is been one of the engines of the Amsterdam scene since the 80s and cooperated
the seventh, directly follows the earlier works and offers an explosive mix of indus- with the Detroit circles early on. The list of his pseudonyms and project names is
trial and electro sounds. Mastermind Ted Phelps knows how to write songs with a very long and includes DJ Fix, Frequency and Format and many other. And even
lot of energy and still scores with cool melodies and hymn-like choruses that are full of hooks. Again though he has tried a lot over the years, from hip-hop to electro to drum’n’bass, he’s returned to
and again Phelps turns on the distortion units and gives the diverse synths a lot of drive. In addition, the music that made him famous. This EP, his debut on Kompakt, delivers crisp old-school techno
the programmed drums push the mostly brisk pieces forward. Not to mention the fat production, with lively beats, minimalist arrangements and house-like elements. Three tracks made for the
which is fun to listen to. So you could say cursively that the long wait was worth it, because „Mirror“ dance floor, without unnecessary frills and just as classic scene-goers like it. Hopefully another
is one of the best albums of the project so far. full-length album will follow soon.
Genre: Industrial | Label: Metropolis Genre: Techno, House | Label: Kompakt

Joplyn: Pappelallee Tortusa: Bre

Joplyn lives in Berlin and has German, Vietnamese and Canadian roots. Her music Tortusa, whose real name is John Derek Bishop, is a Norwegian-American
is just as diverse as her ancestors. She moves freely between dance, electronica, sound artist who uses pieces from ambient, downbeat, jazz, avant-garde, noise,
deep house and pop, and with the experience of over two dozen (!) released electronica and dub to brew an idiosyncratic cocktail that blurs the boundaries
singles, has now delivered a very mature debut album that sounds pleasing between music and sound collage. “Bre”, however, has a greater tendency
throughout and suitable for a wide audience, yet contains enough interesting production details towards the latter compared to its predecessors. The instrumentals are often spherical in nature,
to reach discerning listeners. The sound is based on synths and drum computer elements, which have something oppressive and puzzling about them. Three renowned jazz musicians who love to
form a danceable and atmospheric basis for Joplyn‘s detailed pop singing, which often makes use of improvise were invited as guests: guitarist Eivind Aarset, drummer Erland Dahlen and trumpeter
polyphonic arrangements and is also enhanced by numerous contemporary effects. The warm-soft Arve Henriksen. There are also field recordings that were made in California, Italy and the
production does the rest that “Pappelallee” is a beautiful spring album that is a pleasure to listen to. Norwegian mountains and then processed with samplers, modular synthesizers or loop stations.
Genre: Electronica, Deep House | Label: Stone Free Berlin Something for listeners of Oneohtrix Point Never or Nils Petter Molvær.
Genre: Jazzland/Edel | Label: Ambient, Jazz

96 • Beat 03 | 2021
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