So many facets. Each piece is unique due to its double star constellation. Let's call them by name: T. And each piece is connected to the other through Barbara Morgenstern and her songs And as complete lyrics in collaboration with the aforementioned partner stars they shine sometimes brighter than a supernova, and other times as delicately as a firefly. Between song-craft and krautrock, electronic listening and dance-pop, an entire glittering galaxy of sounds and songs unfolds in front of us.
That's Barbara Morgenstern's Doppelstern. Do not miss this celestial phenomenon. Includes download code. John Soda. Whether it's the dense, intensely rushing soundscapes of "Hero Whales," numerous layers pushing and taking off into the same direction; the propelled clatter of "Sirens"; a track like "Millions" that blows off more and more steam, a glistening, wheezing sort of madness even though there is a tender side to it as well ; the perpetual magic-lantern-like motions of "Name It" think Trish Keenan and Broadcast ; or the gradually descending melodies of opening track "In My Arms" -- they're all lined with a certain tension, underpinned by a certain atmosphere, a unique brand of melancholy that never quite gives in and keeps searching for new outlets and answers.
Or are those the first rays of dawn looming on the horizon? A lot has changed since Ms. Conceived in and taking its name from the first letter of the Arabic alphabet, Alif features Khyam Allami oudTamer Abu Ghazaleh vocals and buzuqBashar Farran bassMaurice Louca keys and electronicsand Khaled Yassine drums and percussion.
Their self-produced debut, Aynama-Rtama Wherever It Falls is a reflection of its time and environment. Recorded between Beirut and Cairo init is a shape-shifting album that twists and turns when one least expects it. Right from the lead track "Holako Hulagu " -- featuring a poem by late Iraqi poet Sargon Boulus rendered into song for the first time -- the band immediately reveal their intention.
Louca's gritty electronic percussion melds with Allami's rhythmic oud, and builds until the explosion of a driving rhythmic section, backing Abu Ghazaleh's frenzied buzuq, leads to a cinematic climax of soaring strings and raging drums.
The startling synergy of these five musicians is retained throughout the album. A fiery sermon rages in "Al-Khutba Al-Akhira The Last Declamation " as the tumult of Yassine's acoustic percussion gives way to Louca's piercing synths, intertwining with Abu Ghazaleh's potent diction. What Brings You Here? The band's wide-ranging influences, along with their unified and intriguing energy, give birth to a soundscape that is at once familiar and unknown.
The album is adorned in artwork featuring a painting by Syrian-Lebanese visual artist Semaan Khawam. His colorful, surreal paintings, combined with original typography by Egyptian designer Salma Shamel, perfectly complement the complexities latent in Alif's music and lyrics.
All editions also feature Nariman Youssef's English translations of the poems and lyrics. A mix of early rehearsal tapes and a board tape from live shows. Yes, they are real, and they are spectacular! Expect the unexpected as Miriam and Sam tackle new dimensions where few have dared to go-- who else would go to the mat with the likes of Deep Purple, Bowie, and the DC5?
Fear not, ye weak of heart! Gatefold LP version. And we succeeded in getting that sound. Geronimo sounds great in a car or when you're having multiple sex with lesbians. Based around the emblematic instrument, the lyra fiddle, it is characterized by refined strings, expressive singing and dance rhythms that resonate throughout the eastern Mediterranean.
Performed on the qanbus luth and copper plate percussion, the music of The Singing of Sanaa is the quintessence of Yemenite traditional music. They treat sound like nobody else. Bertram had been busy with music for movies and high-profile TV shows, Erik too, he says, but he wants everybody to know that he bought a new guitar and a valve-powered amp to go with it Brom is a very special record.
This is why I don't have time for platitudes like 'the experimental duo from Berlin' or 'critically acclaimed Oktaf label. Two things have always been extremely important for Erik and Bertram: sampling and collaborating. With each other, but also with other people. This is what happened recording Brom as well, but on a completely new scale. This time, we also started with sampling, but we recorded the stuff ourselves,' says Bertram.
We've enjoyed this very much, so we were inviting friends to bring their instruments and ideas into the fold. You'll also hear many self-made instruments on Brom, plus the 'hang,' a kind of Swiss-made steel drum with a confusing esoteric heritage. Bringing all this into the mix, 'the record sounds more mature and complete in a way,' says Bertram.
Maybe their best one yet. Who am I to judge? All I know is that this record matters in a big way, more than you can imagine. Just listen to 'Schlagton,' the album-closer, which condenses a million centuries of music history into a pop song four minutes and 17 seconds long.
If this tune does not provoke tears in your eyes, you're dead. Sorry for being so blunt. The truth sometimes hurts. Trust me, I've learned this the hard way. The break kicks the driving rhythm up a notch, mixing Avni's trademark uplifting house with galvanized, toughened techno beats. Steve Rachmad's remix sits dry flanges, acid stabs, and filtered analog synths atop a frenetic hi-hat for a bass-less but high-impact smasher. The hypnotic, wavering acid synth lines and muted kick drums of "Bbbooy Skat" ignite into a techno roller.
Original artwork. Original master sound. Floating di Morel is probably the best rock 'n' roll band to come out of Germany since 39 Clocks. This might sound like overblown hype, but it's not; the few critics who attended the band's rare live performances were all flabbergasted.
Get ready for one of the strangest and most exciting acts from Berlin. Doc Schoko wrote his first songs at the age of He self-distributed his first releases on microcassette in Germany's most industrialized and populated state of North Rhine-Westphalia Rhine-Ruhr.
A working-class punk rocker who uses the German language "Some German words are so long that they have a perspective" --Mark Twain just like his German idols, such as S. No hipster bohemian attitude, just a down-to-earth understanding of stark, primitive krautrock.
Doc Schoko has opened for Mark E. This luxurious 7" contains both of the bands' contributions to Silver Monk Time. The Wire selected Silver Monk Time as one of its best compilations of This reissue bears the original artwork and was remastered by Faust member Hans-Joachim Irmler from the original recordings.
Both tracks are non-LP versions. Archive your music on vinyl! Cover art by Lara Esther Goldman. No idea what planet or what era these songs are from. Beautiful free poetry over disintegrating protest songs. Imagine the best sunglasses you've ever seen started a band. Monster Drums (Version 2) - Future World Music - Editor’s Toolkit 3 - Percussive Builds and Backends (CD Her Records upends his own palette of kaleidoscopic ambience and sub-heavy percussion into two rollers drenched in viscous psychedelia.
Mastered by Tony Dawsey. Cut by Matt Colton. Art by Chris Ramos. His Earth Nation project was the first live techno act to use a live drummer on stage, playing at international festivals including the Montreux Jazz Festival. His score for the internationally acclaimed short film Momentum was nominated for the Best Music award at The Newport International Film Festival Hildenbeutel mixes complex string-arrangements and piano pieces with clicks and cuts and invents his own coherent language that allows both directions to live in harmony.
Elegiac compositions and vivacious, percussive breakouts as in "Spark" meet on this album; a word that grows and gains depth with each hearing. Operating under the handle Corridors for many years, Westbrook has established a reputation for creating immersive, multi-channel, site-specific live experiences using sound, image, and light.
Precipice expands upon these ideas as a collection of approaches to texture, landscape, perception of time, and the potential for sound to generate visual space. Like climbing a column that inexplicably leads to a plateau of glass, the topography above and below visible in crystal clear relief.
Byron Westbrook is an artist and musician based in Brooklyn, NY. He works with listening, space, perception, and awareness, often pursuing routes with social engagement. His electronic sound interventions play with dynamics of perception of space, sometimes manifesting as multi-channel sound performances or as small- or large-scale installation work using video or lighting.
Petersburgand many others. LP includes download code. It offers several classics from the landmark Burnin' LP, which had just been released, and finds Peter Tosh Album) some memorable vocals. The complete broadcast is presented here in digitally remastered sound on gram vinyl with background liner notes and images. Exactly what it says. A fresh and exclusive collection of music that hopefully sounds as great in a car as it will in the comfort zone of your own living room or during dusk and dawn in your favorite club environment see Bicep and Fort Romeau for further reference.
But first and foremost it is truly inspired by many trips on the Autobahn between Frankfurt and Heidelberg. Going to and fro from one club to the other was the way to spend countless hours of adolescence in excitement instead of tedious purposelessness.
But I will not bother you with droll stories of my youth. Musik for Autobahns 2 is the result of a collective effort by dear friends and esteemed colleagues who picked up where the first one ended, while paying attention to the prevailing theme. From Leon Vynehall and his profound research of the BAB 5 highway to Joy Orbison's 'A' or Lauer's heartfelt and wry Kraftwerk pastiche, all of the tracks have a certain compatibility in common or just sound great, while having a drive.
Also, you will meet freshmen like Orson Wells, whose idea of traveling exceeds the boundaries of our planet, next to a grey eminence like Orlando Voorn or elusive characters like Disco Nihilist. All bringing their special skills and imagination to the table" --Gerd Janson.
Also includes tracks by Shan and Conga Radio. This performance highlights Feldman's interest in notation by treating the slight differences in intonation and rhythm literally and specifically.
Recorded by Tom Erbe in the living room of a friend of the musicians. Housed in jackets printed at Stoughton and featuring a cover image by artist Raha Raissnia. To those within Bach's circle, and probably to any attentive musician of his day, the notes thus sounded would have unmistakably articulated Bach's name -- an embedded signature, not just a melodic motif but a salutation in musical code. These four notes are repeated over and over by the clarinet and the cello simultaneously, the two instruments in minutely different rhythms and phrasings.
Whether or not Feldman placed the retrograde B, A, C, H motif intentionally, it fits seamlessly into the pitch world of his late music, in which chromatic clusters often four notes are obsessively restated in different permutations, like anagrams. The wait between Pan-O-Rama and their follow-up was not due to a lack of time or ideas -- the duo has spent the intervening years carefully calculating and constructing, and now present their highly-anticipated second studio album, The Other.
Through all this Pan-Pot have created a body of work perfectly displaying their growth, not only as artists and individuals, but also as a cohesive unit forged into one single, astute mind. Over the span of 14 tracks, the duo showcase not only their impeccable knowledge of sound-craft, but also their uniquely diverse scope, spanning a wide range of genres and influences. While the album has an abundance of big-room techno productions, including "Pina," "Twelve," and "Get In feat. Kevin Knapp ," it's also intricately scattered with shimmers of sound ranging from experimental bass and left field to borderline pop and down-tempo.
With cuts like "Sleepless" which features L. The Other is not merely another extended EP from a dance music artist, but a grand display of the duo's sophistication, commitment, and passion for the music to which they have so faithfully devoted themselves. With countless EPs, remixes, and their Pan-O-Rama album already establishing them as tried and true artists, as well as their collaboration with Susi Sie's visionary visual artwork for the tour supporting this album, it's The Other that will truly guarantee Pan-Pot a place in the history books.
Open your mind. Free your body. The long wait is over. Lose yourself in The Other. Only a small group of people regarded record shops, vinyl labels, and clubs as places of true magic. Smallville's finest, Stefan Marx, who is responsible for all artwork-related things and therefore the visual impact that Smallville has always had, got a call one night from one of these dreamers, Ata Macias. He came up with the idea to create a standard 12" cover reading "Vinyl Kills MP3.
And now, init turns out that everyone involved was right to just do what they love. This CD collects Fortyfour Ways and Fortyfive Ways, plus three tracks from the earlier Ways releases -- 11 wonderful tracks in all, from Smallville's favorite producers and family members.
Cover art by Stefan Marx. The collection includes four pieces from Death In June's last studio album, Peaceful Snow, and seven timeless classics spanning Death In June's career. This is the first time Miro's arrangements have appeared on vinyl. The pressing is limited to numbered copies. A Pale Blue Door takes place in the past, the present and the future, and may involve time travel.
The people in the story are trying to live their lives as best they can, but a mysterious spaceman floats in and out of view, affecting them in different ways, and never quite touching the ground. A Pale Blue Door is a tightly written, well paced tale that reveals its secrets slowly. Robin Storey's prose is concise and economical, engaging and seductive. The book begs to be read again and again. The compositions utilise recordings of stars, manned space missions, radio signals and emissions made available through NASA's official website.
There are also field recordings made on the marshlands of the Solway Firth in Cumberland. Liebregts is known for his Radial moniker, under which he has been releasing high-quality techno since the mids. While Radial focuses more on the tougher side of the genre, his Finder alter ego shows a direction and depth that will turn heads around the world.
With great attention to detail, modulating sounds, and tight production skills, the Souvenirs EP is not to be missed. Five timeless originals, each with a unique character. On Blurse, these elements come into play immediately; euphoric introduction "Comb" is marked by a spectral panning sequence and beats chopped with a culinary expert's sense of elegance. The drum-kit-sounds that feature throughout are used sparingly but deliver maximum impact upon the listener's nervous system.
The block percussion on "The Windrunner" and "Low Roof" perfectly complements the synthetic sheen produced by fuzz distortion, radio static, and bandpass-filtered soundbites, taking the listener to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.
There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician; the queasy melody line and the sliced-and-diced whistling, gelatinous bounce of "Loop 33" recall a child's playtime wonder more than they do the rarefied rigor of the laboratory. The less pulsating numbers like "Loop 42" and closer "A Form of Love" engage the listener as well, evoking short films of abiogenesis the process of life arising from non-living matter.
These tracks are not so much interludes or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the driving tracks themselves, the places to which they drive the listener are satisfyingly beyond everyday experience.
In other words, despite the consistency of Chevel's sonic toolkit and overall atmosphere, there is a rich variety in the emotional color on display here. The net effect is like a dream-state that echoes long after waking, though one can't pinpoint exactly why -- compelling the listener to dive back into the dream-pool to experience it again.
Time heals, experience colors the narrative, desire swells and wanes and resurges. There is always movement, away from the past with a heavy-heartedness, and towards something hopeful. The result was the song "Day of the Long Sun," which became a touchstone for the album.
This mood inspired Hiraga to go back in time to the small town in California where his father was born and imagine life on the West Coast in another era. As in the songs "Rosaline" and "My Paper Sons" which takes its title from a term for Chinese immigrants who forged documents to become citizens after the San Francisco earthquake and resultant firesa tone for the album was set, creating a swirling, hot, and dusty backdrop.
With tinges of psychedelia and Hiraga's dominant melodic sense guiding the trip, the album travels through shadowy and haunting places, and emerges with hopeful vision and a hard-won freedom.
Recorded on vintage analog gear and divided into two sides in the tradition of the best classic vinyl, Radio Ghost leads off with the title-track, with its lively syncopated beat and Farfisa organ lending a mysterious and somewhat Middle Eastern tonality, moving through the slightly sinister "Reno" to the soulful and cathartic "Hallowed Ground.
Here, "Hand to Hand Combat" kicks things off, packed with pugnacious bass tones and dystopian drones; driven, steely toms and pellucid rimshots scatter across the mix in a high-pressure affair before "Concealed Weapon" demonstrates the adroit management of atmospherics that's propelled Coulton's production path thus far.
Dense, throbbing subs form an underbelly while menacing growls intertwine with reverberated claps and snares. The Balance Remakes 12" accompanied the original release of Surgeon's second Tresor album, Balance, with additional versions as well as a remix by long-time Birmingham collaborator Mick Harris.
Versatile and advanced Devastor can be used to distort and enhance a wide range of sounds, from full-on acid synth sounds to guitar fuzz or an analog amp with speaker combo.
It can even be used with drums to make them sound dirtier and more dynamic! For example, reducing the preamp gain, increasing the threshold, and selecting a soft-knee for the dynamics will bring out more warmth and detail in a sound without introducing distortion.
When designing Devastorwe applied special antialiasing techniques to the output signal to make sure it was devoid of aliasing one of the reasons why digital distortion units can sound so cold and un-musical. As a result, Devastor has a warm, musical, and very high quality sound. We would like to invite you to listen the audio examples to whet your appetite and to check out the demo version for yourself if you need any more convincing. Your email address will not be published.
This is definitely something to do with the future of music and there- fore your magazine. So how about a special on how a CD is made? I know a lot about digital recording in terms of frequency rates, bits and so on but almost nothing on the final phys- ical media. If this is not correct then what the hell is happening to old CDs and what can we do to preserve them? You know the secret, now you have to tell us.
Of course, there is one other rather obvious answer. Your CD player could be knackered. Could you tell me more about this machine? Thank you so much. A O, via e-mail Yeah, I saw that. I think he called it a QR20, but I think you'll find it was actually a QY20 which is a portable music-making, sequencer type thing that Yamaha released back at the start of It was one of the first 'walkstations' that Yamaha produced, the latest and greatest of which is the QY And as for Tricky on that programme, didn't he then storm out of a music class after being offended by the teacher's teaching methods?
Pop stars, eh. Who needs 'em? That's not a xylo- phone, that's a glockenspiel. Is there no end to the wrath that spews forth from these pages to attack our Derek? By the way, did you know that he lives with Patrick Moore?
Virtually almost there A few months back you ran a feature on virtual synths and here's yet another one for you. It doesn't work in real time but it is very powerful and makes some very nice noises. Any chance of a review or some mention? Life, love and unity, James, via e-mail Well there's the mention. We'll have a look at it as soon as we've put some more water in our steam-driven computers that access that thing they call the Internet. Life and unity to you too James. But we'll hold back on the love bit until we get to know each other a bit better.
It has it all: FAQs, patches, pictures, Virus operating system up- and downgrades, a mail- ing list and a wish list where users post their needs and read other people's for the next generation of the Virus OS.
Thanks for spreading the word! Think different! Canine, via e-mail We should be getting the Virus synth in for review soon, but what do you mean by 'Think different'? Do you want us to start talking about knitting instead?
Another ruddy site I thought you'd like to know about the following link if you don't already : www. It's a site devoted to the PC music scene, leaning towards trackers, but has a great softsynth section. Most of the software is either shareware or freeware, and of reasonable quality. Try it, it's fun. Great Web site by the way! Yours that is. Matt Estela, via e-mail This 'Short Cuts' box is turning in to a 'Web site plug' box, and it's not all that short either.
You II find the FM stuff in the hi-tech section. It's great! Here are your efforts. Whoever gets it right, as usual, wins 10 not necessarily all that good CDs. Tripped up Correct me if I'm wrong but does the spine for FM 66, "Me I disconnect from you" have anything to do with the Co lo-fi cover feature? If you think about it [Yeah, yeah - Ed], the feature concerns itself with getting a more grungy sound, that is, less highly pro- duced, so you are disconnecting yourself from the traditional hi-pro- duction values philosophy.
Clever stuff. Can I have my crap CDs now? Adam F no not himvia e-mail I love it when people ask for their crap CDs after coming out with a load of old nonsense. Maybe we should stipulate that whatever you write you have to put that line at the end like the way people put 'Correct me if I'm wrong' at the start. Sound Of London? I don't know what or why but I thought I'd have a guess anyway.
Bret, North London Even if you were right with the connection, you'd have to give us a tad more info than that. Always ruddy wrong, me Now "Me I disconnect from you" must have something to do with the fact that Andy Jones left the Future Music editor's chair in that issue. I've got to win this time.
Yes, it has got something to do with that but you didn't follow up the link with more information, so for now, you're still the bloke who enters every month and always gets it wrong. Better luck next time. Me, I'm obsessed Now this one's easy.
The line "Me I disconnect from you" was the name of a track on Replicas, the first hit album for Gary Numan under the name Tubeway Army about 20 years ago. Andy Jones clearly had a rather unhealthy obsession with Numan and as it was his last issue, what more perfect a way to sum up his departure than with a title of the one of the great man's greatest works! And this guy's got the cheek to accuse someone else of being obsessed!
Tony R, Birmingham Yes, you're right Tony, although the seven extra pages of Numan information almost blew it for you. CDs on the way and also to another couple of readers who always get it right. The problem? I have not yet seen the English magazine my brother has bought because they are in Spain, but I wonder if buying the Spanish version would be worth- cQue demonios es Thank you very much and excuse my poor English.
There is a Spanish edition of Future Music which is available in Chile, Spain naturally and probably a load of other Spanish-speaking countries. There are also versions of the maga- zine in Dutch, Portuguese and Italian. All three foreign versions reprint fea- tures word for word from the UK ver- sion of FM, including our so-called humorous captions.
And for the cynics among you they are completely legiti- mate and worthwhile as they are licensed to the foreign companies by Future Publishing itself. There is an added bonus in that the foreign ver- sions include interviews with native musicians.
For instance, the latest issue of the Spanish Future Music numero 1 3 includes a profile of Julio Psadas alongside Adam F and demos from real-live Spanish music-makers; but the highlight has to be the transla- tion of What the hell is. The highlight? The let- ters pages are called PraatPaal. Admittedly the foreign versions come out later than the corresponding UK one so if your English is up to it, subscribe to the UK version.
However, if you can wait and want to read well- written articles of course in your own language, go for the foreign version. All subscription enquiries, whether you live in Chile, Spain, Antarctica or Swindon must be sent to subs futurenet.
What about Kurzweil? Have you never heard of the Kurzweil K? It makes me angry that you ignore the Rolls Royce of synths. Yes, we do know about Kurzweil stuff and yes we do like it. Cast your mind back to FM 43 16 Have your say Industry rant Now it's time to put the hi-tech music industry under the spotlight as we put you in touch with them over an issue that is close to your heart, whether it be a naff product, poor after-sales service or simply a dumb design.
This month, Terratec comes under scrutiny from reader Johan Burman. Simon Edmonds, Terratec's MD states the case for the defence I'd like to bring to your attention the current status of the Terratec EWS64 soundcard. At the moment, the card is sold as a professional sampler and pro-quality soundcard with the remarks that some functionality is to be added later.
So far, not much has been delivered. As a musician, I need the card as a sampler and a hard-disk recording system used together with Cubase VST. Unfortunately, I can only use it as the latter, but just barely since the promised ASIO drivers haven't been delivered. Before I purchased the card I contacted Terratec to find out when all the advertised features would be available.
The reply was "in about a month" and has been ever since. So, I sold my E-mu ESI sam- pler and my Tropez soundcard in order to reach eternal bliss by com- bining these two machines into just one even better one. As mentioned, I'm still waiting.
My creative processes have gone flat and I'm now spending my days configuring this damned card. If there was a solid alternative, believe me I would. But as things are now, there isn't really much around to compete with the promised specs of the EWS. Perhaps if there was more competition, Terratec would get off its butt and start deliver- ing what people have already paid for. Another part of the problem is that this card has somehow passed the reviews with only high marks. This surely makes people continue to buy it and not get what they pay for.
This kind of behaviour make a prod- uct, promise a lot of nice features and then not deliver seems to be more and more common. From what I heard, the Turtle Beach Pinnacle card is in the same situation. I have also come across a couple of examples in the synthesizer world, but they usually sell their improvements as add-ons and therefore don't make the customers pay for some- thing they won't get. Perhaps it's time for you and your magazine to try and reverse this process by taking unfinished features in new products into account as a part of the rating.
Future Music is a strong magazine and you do influence the market with your reviews. Given this, you also have a responsibility to give your readers a fair view of each product, and not get carried away on empty promises. Johan Burman, via e-mail We can go one better Johan.
We have an answer for you direct from the horse of Terratec's mouth Thank you for the opportunity to respond to this letter from one of your readers.
This has been due to our underestimation of the devel- opment effort involved. I am concerned to read that Mr Burman states that "so far, not much has been delivered" as we have been shipping the version 2 drivers since before Christmas and we now have the latest version of Edison Micro VO.
We have a policy that all regis- tered users are automatically sent the latest updates and I can- not stress enough how important it is for customers to send in their registration cards or register via the Web site.
We'll be contacting Mr Burman to ensure he is registered with us and therefore he'll receive the latest software updates as soon as possible. With reference to Mr Burma n's com- ments about hard-disk recording. In fact, the latest update to VST V3. Even with the excellent performance with VST today, we are still firmly committed to producing the ASIO drivers and develop- ment should be complete a few weeks after the final Edison release.
The EWS64 is an organic product, we have overcome the problems that caused the initial delays in software releases and you can expect to see more gizmos for the EWS64 over the coming weeks. And back then it was a grand more than the E-mu too! How about some background info? What music does he like? FM Opinions expressed in these letters are not neces- sarily those of Future Music, who cannot be held responsible for their content. ISSN Printed in the UK Unless otherwise specified, prices quoted on editorial pages are recommended retail prices and include VAT.
Future Music makes every effort to check all information, but can accept no responsi- bility for any errors or omissions. Future Music recommends that all your purchases from our advertisers are made with a credit card so that, in the unlikely event of a problem, redress may be sought from the credit card company Future Music recognises all copyrights contained in this issue.
Where possible we acknowledge the copyright holder. UK shipping with Version 2 drivers! UK Reviews 28 pages of reviews featured on 12 tracks of the CO start here Minns 28 pages of reviews start here. The FM Best Buy award is presented in head-to- head reviews, letting you know which is the best of the bunch for your money. And a sampler. And another synth. And a sequencer. And yet another synth! And another synth on top of that! Pick up your pen and write home now because this is one hell of a machine.
The EX5 is a voice polyphonic keyboard with four different types of synthesis, a sampling section and a sophisticated sequencer on board.
Send in the heavy squad It was a bright sunny morning when the FM delivery team deposited the EX5 on my doorstep. The casing is a slightly metallic dark blue, with a grainy finish that just invites touching. However, add an AN or VL voice and the four insert effects are reduced to one. Try select- ing more than one VL or AN patch in a Perfor- mance and the EX5 will alert you to the fact with a dialogue box, while simultaneously switching you on to the next available AWM patch.
This alert box soon becomes an irritat- ingly familiar sight when selecting parts within a Performance, as the various synthesis types are scattered randomly through the presets. This sharing of DSP resources will already be familiar to anyone who uses an audio sequencer where the trade-off is between the number of tracks, EQs and effects that can run simultaneously. Three hours later I took a break to eat. Its presets have a modem dance market appeal rather than your usual meat-and-two-veg sounds.
However, there is an area which 1 feel the presets pass over and that is the big beat, Chemical Brother end of the dance scene which is a shame because the EX5 is more than equal to the task.
It seems that synth manufacturers are still wary of these harder sounds when musicians are crying out for them. Yamaha has taken pains to ensure thaL the patch editing interface on the EX5 is as uniform a process as possible, regardless of the synthesis method used. Both the AN and VL voices feature fewer editing parameters than can be found on an AN lx or VL1 and the remaining differences between each method are easily assimilated. A complete description of the features of each synthesis type would fill two articles, so I will focus on the AWM voices as they form the vast majority.
Out 2. Thru On first impression the EX5 looks pretty cool. Eight function buttons flanked octave down and scene recall level adjust for job, pick it here Oh yes by the shift key left and the sampling input exit key right Pitchbend That all-important and first ribbon controller mod wheel Arpeggiator; effects bypass yes! For which can be assigned can be switched between entering numbers, to various parameters cursor and value modes And letters.
Ribbon controller A tactile strip which you slide your finger along to control whichever parameter is assigned to it.
There are eight available filter types - five different varieties of low-pass, a high-pass, a band-pass and a band-reject - giving plenty of scope for sonic sculpting. Processing plant FDSP is not a complete synthesis system as it gener- ates no initial waveforms of its own, Album), but works in combination with either AWM, AN or sampled voices as an extra stage of processing.
There are ten basic FDSP modes: electric piano pickup, electric guitar pickup, water a sample-and-hold resonator that converts the inputs to a running water soundflanger, phaser, ring mod, PWM a pulse width mod- ulation type effect that can be applied to any wave- formself FM simple FM algorithmtornado an aggressive FM algorithm and seismic bass boost, compression and overdrive.
Each FDSP type can be extensively edited and the results are excellent. The two pickup models add a sense of realism that can otherwise be lacking, while the running water model will give you one of those smiles that starts at your ears and works its way inwards. The fact you can use your own samples with the FDSP section is a real bonus. Make no mistake, FDSP is a powerful creative tool but power has its price. First of all there is graphical waveform editing which, for a lot of people, is an absolute essential in a sampler, though the EX5 was occasionally a little slow updating the display to reflect the current sample.
I found sampling on the EX5 a doddle, with most of the recording and editing going on in just three different screens. The sampling rate is fixed at This is a handy way of freeing up effects and polyphony, as a whole sequence and all its associated effect setting can be recorded and played as a single note.
Sample data can be saved either to the built-in floppy drive or via SCSI. The only other real omission you might find is of a timestretch function. The EX5 lets you freely assign which voices will keep their effects, confronting you with the familiar DSP resource warning if you try to assign too many. The EX5 is no stranger to real-time controllers. Three wheels, six knobs and a ribbon controller adorn its front panel while the back panel houses connectors for four footswitches and a breath controller.
Assigning functions to this bewildering array is handled in the pleasantly simple controller window. Each of the 13 controllers is listed along with its destination which can be virtually any voice parameter. A different destination can be assigned to each controller and all settings are saved within each voice patch.
I say fairly easy because any instrument comprising four different synths, a sampler and a sequencer is bound to take some getting your head around. During editing, the six controller knobs are assigned to six of the para- meters which are gracing the LCD at that particular time, while the eight function buttons just above them are used to flip from menu to menu.
However, this is a problem that would vanish with familiarity. The EX5 is part multitimbral so each Performance has 16 slots for your sounds to go into. This is a seriously nifty feature, enabling you to radi- cally edit sounds within the context of a sequence or layer. Voices can also be assigned to the arpeggiator, switched between monophonic and polyphonic settings and assigned to individual outputs.
Editing tracks is as easy as it ever could be without a mouse and monitor and you should be able to knock a song together within about half an hour of first using it. The arpeggiator is likely to see much more use than the sequencer and it sports 50 rather groovy preset patterns with room for 50 user patterns. The presets cover all the standard up and down varia- tions, as well as strummed guitar riffs, house-style chords and techno sequences.
Stick it in one of the user patterns and off you go. These samples are then processed with the familiar array of filters, LFOs and envelopes and give quick access to a broad palette of sounds. Up to four samples can be layered within an AWM patch for complex sounds, but each keypress will then take up four voices of polyphony. Despite the seeming simplicity of analogue synths it requires a lot of horsepower to con- vincingly emulate them digitally, so for the present time AN synths have relatively limited polyphony.
See the AN1 x review in FM 59 for more information. Principally intended for making convincing copies of acoustic instru- ments such as violins and brass, it offered a clear advantage over samples with its awe- The AN lx features - you guessed it - AN synthesis somely expressive real-time controls. VL instruments can reflect subtle nuances of play- ing style that other methods of synthesis could never hope to reproduce.
Like AN it is a processor-intensive method of sound genera- tion, and so VL instruments are generally monophonic. See the review of the VL1 m, way back in FM It is not a complete synthesis method within itself but rather an extra stage through which either AWM or AN voices can be passed. FDSP can produce a range of effects from the simulation of electric piano and guitar pickups to ring modulation, simple FM and standard effects such as phasing and flanging.
These effects are not applied to the whole sound but note by note so that each note of a chord played with varying velocity will respond differently. This could mean subtly different pickup tones or several phasers running at different cycles. E-mu has recognised this with the EIV sampler and offers an optional eight-output board, giving the EIV a total of 16 outputs. It may not be cheap, but at least you have the choice. The ribbon controller is slightly awkward in that it requires a small amount of pressure to register your movements.
However, not a single one of them would put me off the EX5, not the slightest bit. More than any- thing else, it feels very contemporary and not simply in a faddish way. The rest of us better start saving up. FM 24 at a blow! Our audio engineers included the ideas and suggestions of many customers developing three new all-digital devices, that will turn heads. Solving digital transfer or conversion problems? Eliminate feedback or acoustic problems? Do you want completely authentic virtual acoustic reverb?
Their open architecture, enabling system upgrades, and a free editor software ensure a future-proof investment. Welcome to Virtuality! Large LCD display. Steeper filters. Built in Zip drive Automatic tempo calculation. Lo Fi, Oscillation, Step modulation Per Month The 02R digital recording console offers compatibility with all major digital audio formats.
With up to 40 inputs, 8 busses, full on board automation, 32 bit internal digital processing, 4 band EQ and dynamic processing on every channel. This is the only serious choice for recording and post production. It features 26 inputs and 18 outputs and still incorporates full automation, 32 bit digital audio processing and 32 bit on board multi effects processors. This is a totally affordable desk that out performs anything in its price range.
Call for prices and finance details. Your application can be processed on the phone or in our showrooms with any of our helpful sales team. Written quotations available upon request. Uses low cost JAZ discs. Digital EQ. Balanced INS, Record on up to 8 ""tracks at a time. Then try a budget blue one then, one with great sounds and a look to brighten up the darkest of studios.
Andy Jones plays with the Digitech Si 00 and gets the blues Oh no. Back then 1 knew very little about effects boxes and bought it because it had a little remote control attachment which 1 thought was cool. And I mean really good. But wait. Not this time mate. Beyond first impressions Putting the great looks to one side for a moment, the Digitech SI 00 is unusual in many other regards. First up, there are no mix, input or output controls on the front panel, just a row of small buttons along the bottom recess and one larger rotary.
Fair enough in some ways because you can make a lot of adjustments to your signal on your mixing desk, but why not have it around the front panel for that added flexibility? Setting up the unit is a breeze. Finally, the Viscount EFX is just a tenner more, is slightly easier to use, has a good range of sounds though not quite up to the standards of the SI 00, and it also falls short in the flexibility department.
So basically, the Digitech SI 00 is the best out there. The first is the most obvious, showing the input level of your signal. The sec- ond is to show which of the four effect types one or both engines is using. Why have one control when you can have two? And the front panel LEDs show the signal input level as well as loads of other functions see Two of everything box above. The following 20 presets are simple reverbs.
I say simple but there is just about every sized room you could ask for, from small plates to one called High Vaulted Cathedral. All are crystal clear, occasionally harsh but always unmuddied, as are the 10 delays which range from slap Monster Drums (Version 2) - Future World Music - Editor’s Toolkit 3 - Percussive Builds and Backends (CD up to two-second taps. The modulation effects, often subtle and often superb are great for creating special effects from nightmare voices to high- pitch nonsense.
Also in this section are presets offering a load of Phaser types for any pad or bassline sweeps, ideal for livening up otherwise bor- ing sounds or disguising heavy preset use.
There are 25 multi-effects consisting of a couple of the above- mentioned effects grouped together. The separation on each means little muddying of your mix although care might be needed with some of the more dra- matic reverbs.
This means the SI 00 is more flexible than many units of this price many just offer the two main parameters. With the EQ you have access to Lo, Hi and two Parametric parameters, and with the gate you can control the threshold and release data. With the modulation effects, for example, these parame- ters control anything from speed to feedback; with the reverbs you get decay, damping and so on. MIDI control is also available; program changes for bypass and preset selection and control changes to adjust the dry level.
Not much but again very simple to use. Any edits you make can be stored to one of the 99 user loca- tions using the, guess what, Store button. Basically the SI 00 is a dual engine device. If you have it in Configuration 1both processors are dedicated to producing one sound, allowing for longer delay time and denser reverbs. The other configurations split the effects engines so you can get two effects at once.
Press the Config button on the front panel and you see which of the five settings your preset falls into, and simply pressing either Engine A or B shows the effects used. So is there beef beneath the styl- ish look?
Well, I can honestly say the SI 00 is one of the best sounding budget units around. It can be applied to a load of applications and is especially suited to vocal effects and fattening up your keyboards and basses. Only valid for direct order. Payment by credit card is possible. Editing features such as combine, move and autocut; jog dial; digital input; full function remote control.
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PLUS Call one of our experts NOW! Probably not, but now you can find out with MetaSynth. Michael Anthony fills us in Well, however much it might sound like a concept from a sci-fi movie, it is now possible thanks to MetaSynth which can readily transform sound into pictures and pic- tures into sound.
The concept is simple. You open up MetaSynth and import a picture, and the program translates it straight into sound. Vertical lines in the picture con- trol pitch, horizontal lines duration of the sound, brightness and inten- sity equate to volume black being silence and colour represents placement in the stereo field. The results are far from simple though and experimentation with different pictures - from the Mona Lisa to a kids cartoon - will produce all sorts of sounds from the run-of-the-mill to the out-of- this- world.
And the qual- ity of the effects is almost worth the price of the pro- gram alone. You can also apply filters to the sound through the - you guessed it - Filter window. In the Wavetable window, you can create Album) alter any type of waveform using the toolset, then import this new waveform for use in your compositions.
And through the Procedural Synth function you can employ various other effects such as vocoding and sound morphing, which underlines the versatility of MetaSynth as a handy sound editing tool which is also a lot of fun to use. The other way of making music using MetaSynth is by creating your own pictures.
In doing so, you take control of the various parameters - brightness, verti- cal and horizontal lines, and colour - and thus of the sounds. The principal sound creation tool is Image Synth which allows you to freely paint with' sound, using either standard or custom paint brushes and tools provided. You can work in detail, dabbing in various tonal fundamentals and harmon- ics, or splash on thick layers of colour to get big sounds. You can also rotate, resize and contort the image while zooming in and out of the display and all your efforts will be rewarded with completely new and different sounds.
MetaSynth is simple to install from a CD-ROM, which also includes a huge assortment of graphic presets and filters, along with loads of example sounds, and Net users can get even more examples on-line.
With its flexible voice architecture, good effects tools and ele- gance of design, MetaSynth is a unique example of where software synth programs may be heading.
Dave Robinson cuts through the crowds to find out All recorded straight from the unit directly to DAT. Five adjectives to describe the Korg Trinity on its first release in late Not only that, the onboard sample memory has been increased from 24 to 32Mb, and there are twice as many patches and drum samples to boot. The cost? Less than a grand. But has the TR-Rack really got what it takes to stamp all over the competition? A filter section lets you shape and manipulate the several hundred onboard digital waveforms.
A bit like Arnold Schwarznegger made synth-like, if you will. The front panel is basically a brushed aluminium version of many former Korg modules the 0 series, the M series. There are a few bonuses to mention, though. Whats worse - oh dear, already finding fault, so early in the review - is that the TR has a dual-oscillator mode, so when you fatten up a patch, polyphony unfortunately drops to a puny 16 voices.
The bigger the better Turn on, and. Look at the size of those graphics! The LCD screen, innocuous enough when the machine is inoperative, is a revelation.
The TR-Rack powers up in Program mode an example of Korg prolonging the use of its age-old Program for patch and Combi for several patches combined nomenclature. There are Programs, arranged in four banks ofwhich are then divided into 16 categories including Bass, Organ and Motion Synth.
So, the initial display shows the Prog number and name on the top row, the Category of sound beneath. How the TR-Rack alights on the ears is the crux of the matter, of course and the Program section offers few disappointments. There are plenty of brass, organ and orchestral tones, endless pads and textures and shimmering digital diadems.
The occa- sionally weak string tone is countered by some deli- ciously rich patches World Strings for instance. There is an awesome selection of contemporary bass patches, everything from tuned bass drums to sub basses to clubby organs.
Some Programs might be built from two multisamples, so they may change from the lower to the higher as you play more forcefully. The TR-Rack is therefore great at emulating the nuances of timbre of, say, a slap bass or Rhodes Piano. The Program section is also where the drumkits live.
The only Program spoiler is an obsession with reverb, on pianos, on organs, on everything! Of course, the Combi section was designed to deal with any sonic inadequacies and we come on to that now. I married a Combi A Combi, designed principally for live performance, is a grouping of several Programs. MIDI channel, volume and pan settings for each component Program can be defined; you can program crossfades or abrupt changes in timbre using the Velocity Zone parame- ters and similarly, split keyboards and layers are pos- sible with Key Zone.
There are Combis all told, twice the number to be found on the original Trinity. And there are some stonkers here. The TR-Rack is no exception, supplementing the norm with some exciting extras. This machine offers two classes of effects, insertion 1 00 effects and master 1 4.
Insertion covers a variety of nice and spicy applications: dynamics processors such as compressors and exciters; conventional pitchshifters, vocoder and unconventional effects decimator, res- onator ; simulators piano dampening, guitar amp ; and classics reverb, delay, chorus. A simple random filter is a size 1 ; a stereo harmonic chorus is a 4. For each Program you can amass up to three insertion effects, along as the total size is no bigger than 4. Master effects - the reverbs, the chorus, the blankets of ambience - are far more straightforward, working on a send and return system such as you find on a mixing desk.
But what does it all mean? Meet the Bushmen is a fun and funky mallet percussion multiple while Scoring Homs is a symphony waiting for a conductor and Big Perc Organ dishes up an irresistible Vox Conti- nental, but turn off that reverb bath!
There are sev- eral atmospherics which enable you to create an ever-fluctuating soundscape with two just fingers Monster Drums (Version 2) - Future World Music - Editor’s Toolkit 3 - Percussive Builds and Backends (CD the keyboard, a sustain pedal and a mod wheel. But be warned: some of these swallow the polyphony. The third play mode is Multi, for multitimbral use with an external sequencer.
The Trinity work- station had its own built-in sequencer, of course. What an oversight! Compare this with the Roland JV- andwhich offer multiple locations for multi set- ups.
As many potential buyers of the TR- Rack will be sequencer-based musicians, I would have expected Korg to make the Multi mode more effective and practical. All rather disappointing. The TR-Rack certainly does its best to discourage you what with the Programs and Combis dished up already. Program editing therefore takes the form of tweaking and polishing what Korg has given you.
What- ever that is.
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