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2009 NAMM Show: Jazzmutant has announced the V2 software upgrade for their Lemur controller, along with price drops for both of the company’s multi-touch control surfaces. 

Jazzmutant’s Lemur and Dexter both offer multitouch-sensitive surfaces for music, with the Dexter aimed at DAW users and the Lemur a more open-ended system.

V2 comes packed with new objects and features that allow users to really interact with sound and manipulate it in real time. Workflow improvements, scripting additions and other features allow the controller to be used better, faster and more in tune with some of the most popular software applications around with Ableton Live users, in particular, benefiting from some of the new features.

Price Cuts

A V2-powered Lemur will be reduced to €/$1769,00 (£1,660) for a limited 60 day period, starting from NAMM. Jazzmutant will offer the Dexter as a DAW only controller at the heavily (and permanently) reduced price of €/$1519,00 (£1,430). Crossgrading from Dexter to Lemur will no longer be possible, the crossgrade from Lemur to Dexter remains an option.

Here are the Lemur v2 features in detail:

  • Breakpoint object — Offers total control of synthesiser or sampler envelopes with a multi-segment envelope editor. Rather than assigning knobs to these sound shapers, jump right in and directly tweak an on-screen representation of the envelope. This familiar, visual interface allows you to see — and hear — exactly how you are changing the sound and you can easily add extra breakpoints with a simple double touch.
  • Gesture object — This emulates a trackpad control with advanced gesture recognition and has three novel ways to interact with your sound. You can send different control messages to your computer simply by pinching, rotating or tracing your fingers. An example could be with surround sound: rotate to change the source position, pinch to change the source level, and trace to apply some filter to it. 
  • Alias — Now you can easily produce a copy or alias of a controller object that sends exactly the same information to your computer. This takes up less memory and is much less time consuming than setting up a new object with identical characteristics. Manipulating the original or its doppelganger can now control the same computer parameters but from different interface screens. Moving one will automatically update its “mirror image”.
  • Tabbed Container — Containers are virtual panels that contain a selection of controls. Tabbed containers allow you to change the contents of this panel at the tap of a finger. Put all the controls you need for one part of your performance in one tab, then simply push the next tab to reveal a whole new bank with zero hassle. This feature allows you to greatly improve interface layouts.
  • Mouse and keyboard control — Now Lemur’s objects can be used to remotely control the mouse cursor or computer keyboard.
  • Workflow improvements — Workflow improvements include the ability to simply drag objects from the new palette into the work area — any custom-made modules from your library will also appear here. It’s now no longer necessary to select a MIDI or OSC target for each parameter within an object — just choose a “parent” target and you’re done. There’s also a new ‘colour chooser’ to make your interfaces visually distinctive.
  • Extended scripting abilities — A new multi-line script pane opens up a whole new world of possibilities. You can now modify the physical behaviour, appearance or size of an object in real time. Add a ball to a Multiball object by touching a pad, or zoom in on a fader for ultimate precision. These scripts can act locally or be received from the computer. For Ableton users that means it is now possible to receive clip names and colours and display them on the Lemur. Any changes in your Live set are automatically reflected on the Lemur. 

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      something to think about

      When Mozart was composing at the end of the eighteenth century, the city of Vienna was so quiet that fire alarms could be given verbally, by a shouting watchman mounted on top of St. Stefan’s Cathedral. In twentieth-century society, the noise level is such that it keeps knocking our bodies out of tune and out of their natural rhythms. This ever-increasing assault of sound upon our ears, minds, and bodies adds to the stress load of civilized beings trying to live in a highly complex environment. — Stephen Halpern

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