Open Labs has introduced SoundSlate, what they call “the ultimate virtual instrument player” and hardware DAW for your keyboard workstation or MIDI controller.

SoundSlate puts Open Labs’ music operating environment, including the virtual instrument host Riff, 8000+ of sounds and effects, a robust audio i/o, and a powerful computer core running Windows XP, into a 1U-ultra compact case.

Features:

• Professional music production for the price of a laptop.
• 24-bit/ 192kHz A/D converters (same as Pro Tools HD 192 I/O interface).
• 8000+ preset sounds and effects
• Includes Cubase LE, Sonar LE, LIVE LE and more.

Open Labs SoundSlate packages start at $1,999.

SoundSlate Technical Specifications:

CPU
Intel® Core2 Duo ® (2.8GHz)

Memory
2 GB (upgradeable to 4GB)

Storage
500 Gigabyte (upgradeable to 2TB)

Drive
Slimline CD/DVD Burner

Connection
(8) USB 2.0 ports
(1) Gigabit (10/100/1000) Ethernet port
(2) DVI Video ports (1 DVI-I, 1 DVI-D)
(1) E-SATA port

Audio
Sample Rates: 44.1, 48, 96, 192kHz from internal crystal or externally supplied clock (no sample rate conversion)
Bit Depths: 24-bit I/O, 32-bit processing
E-MU E-DSP™ 32-bit DSP with 67-bit accumulator (double precision w/ 3 headroom bits)
Hardware-accelerated, 32-channel mixing, and multi-effects processing
Zero-latency direct hardware monitoring w/effects
ASIO 2.0, WDM/MME/DirectSound Drivers
EDI (E-MU Digital Interface) proprietary 64-channel audio link over CAT-5 cable
Anti-Pop speaker protection minimizes noise during power on/off
Ultra-low jitter, clock subsystem: < 1 ns in PLL mode (44.1kHz, Opt. S/PDIF Sync)

Analog Line Inputs (2)
Type: servo-balanced, DC-coupled, low-noise input circuitry
A/D converter: AK5394A
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): +/- .05dB
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -110dB (.0003%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB

Analog Line Outputs (2)
Type: Balanced, low-noise, 3-pole low-pass differential filter
D/A converter: CS4398
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): + 0.0/-.35dB,
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -105dB (.0006%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB

Digital I/O
S/PDIF:
- 2 in/2 out coaxial (transformer coupled)
- 2 in/2 out optical (software switched at ADAT)
- AES/EBU or S/PDIF format (software selectable)
ADAT:
- 8 channels, 24-bit @ 44.1/48kHz
- 4 channels, 24-bit @ 96kHz (S-MUX compatible)
- 2 channels, 24-bit @ 192kHz
MIDI:
- 1 in, 1 out

Synchronization
Internal crystal sync at 44.1, 48, 96, 192kHz
External sample rate sync via
- ADAT (44.1 – 192kHz)
- S/PDIF (opt. or coax 44.1 – 96kHz)

Power Supply
250 Watt Power Supply, Whisper Quiet Cooling Fans (Internal Chassis, Processor & Power Supply)

Dimensions:
19”(W) X 12”(D) X 1U(H)

via GearJunkies

This video demonstrates how you can use the new Novation Launchpad like a monome.

To try this out, you’ll need a Launchpad (You can get them for $199 at Zzounds and other online retailers), a free app called nonome and a monome app.

For this demo, Mike Tron built a Windows executable that combines nonome with a monome program called mlr. Tron is offering to build an OS X version, too, if there’s interest.

Max4Live takes a look at the Novation Launchpad, a new $199 controller designed to “put Ableton Live at your fingertips.”

OT: OG Ice T shows how to disassemble a Mac that is giving you problems.

I don’t know about you – but there have been a couple of days where I’ve wanted to do this.

Muse Research has announced a new Solid State Drive (SSD) option for the Receptor 2 Pro line of hardware plug-in players.

SSD dramatically increases the data throughput of the Receptor 2 Pro and Pro Max, for greater polyphony and lower latency, as well as increasing the device’s ruggedness, by replacing the traditional rotating hard drive with solid state drive technology with no moving parts.

The SSD option is available on either the Receptor 2 Pro or Receptor 2 Pro MAX models, and offers either 128GB or 256GB of storage.

Details at the Muse Research site.

Solid State Drive technology addresses the bottleneck in modern data systems

RECEPTOR 2 has a wickedly fast processor RAM computational engine that performs with remarkable efficiency. The result is very high polyphony counts at exceptionally low latency with the 4GB of RAM installed in the system. Until SSD technology arrived the general belief has been that extending RAM memory to 16, 32, or even 64GB is a better way to achieve higher levels of performance. This requires a move to 64-bit operating systems, and comes with a commensurate increase in system overhead, increased power consumption and heat generation, along with dramatically longer load times to fill the RAM before you can start making music. Muse R&D has discovered that the real bottleneck is getting data off of the drive subsystem, and that a fast data retrieval system enables you to do much more with the existing RAM, amplifies the advantage of faster load times, and keeps the system quiet by managing power consumption.

Although RECEPTOR 2 ships with a SATA-2 drive interface built in which is capable of delivering data to the processing subsystem up to 300MB/s, in reality the existing rotating platter hard drives are only capable of delivering continuous data streams of 60MB/s to the processing subsystem. The Muse R&D philosophy is to improve system efficiency, and increasing the speed at which you get the data off the storage subsystem and into the processor goes a long way toward achieving this goal.

RAID drive systems, which increase data throughput by spreading the data across two or four drives do allow data to be delivered to the processing subsystem quicker, but they also add complexity, fragility, heat, and weight to a rig.

The new SSD technology offers significant performance advantages when reading data over a traditional rotating platter drive by orienting the data in a “virtual raid array” across the storage field. The result is continuous read speeds of between 250MB/s and 300MB/s. The fact that there is no friction in the system means that system heat is reduced, and since there are no moving parts, the storage subsystem is impervious to shock, vibration, and the rigors of constant touring. The result is an optimal combination of higher data throughput with improved ruggedness and reliability.

Two drives available: 128GB and 256GB.

Based on extensive testing and real-world touring experience, Muse R&D offers two configurations of this technology to customers like film composers and mission-critical touring situations where high polyphony and the ultimate in reliability is required.

“The solid state drive technology offers significant performance benefits to our most demanding customers,” comments Bryan Lanser, VP of Product Development at Muse Research and Development. “The incredible data throughput coupled with the fact there are no moving parts in these drives is just one more way in which we can make the RECEPTOR 2 the ultimate synth, sampler, and sound module more powerful and more reliable.”

RECEPTOR 2: Road proven and now virtually indestructible

Many of the world’s biggest bands and most famous artists use RECEPTOR 2 to run their synths, samplers, and effects both in the studio and on the road. That’s because RECEPTOR 2 packs massive amounts of power into a 2-rack space box that weighs only 18 pounds. The addition of optional SSD technology to RECEPTOR 2 not only improves the performance of any RECEPTOR 2, but it also offers reduces the weight of the product as well as drastically improving the mechanical ruggedness of the product since the drive subsystem has no moving parts.

Sunday Synth Jam: This gorgeous a capella monome jam comes via Matthew Davidson:

I haven’t released anything a capella in over a decade. Solo multitrack a capella is one of those things you can’t perform live, which is one reason why I believe recorded music and live music are separate art forms. However, the idea of performing a polyphonic a capella piece live is still an interesting challenge. Of course, one can use delays or looper hardware, but I’ve often found the results lacking interesting compositional structure.

The recent Imogen Heap on David Letterman video got me thinking about performing an a capella piece in conjunction with a monome. The goal was to use just the monome and a microphone. No other gear or touching a computer is allowed. Also, no sequencers running backing tracks. This is somewhat of a challenge.

I recorded this as a two camera shoot – a Canon 5DmkII with a lens baby pointed at my head… well… the mic, and another video camera pointed at the monome so you can see what my hands are doing.

Davidson is always doing interesting work that’s experimental, but also sensually inviting – so make sure you check out his Vimeo page and his blog, Stretta.

Avid has introduced three Pro Tools Essentials bundles – three inexpensive “gateway drug” introductions to the world of Pro Tools.

The three bundles, Pro Tools Vocal Studio, Pro Tools Recording Studio and Pro Tools KeyStudio, are entry level offerings aimed at people who want to create and share music, podcasts and narrations.

Compatible with both Mac and PC, the Pro Tools Vocal Studio, Pro Tools Recording Studio and Pro Tools KeyStudio bundles will be available beginning in mid-September for US $129, £79.

Pro Tools M-Powered Essential music software is bundled with M-Audio interfaces, in the following three configurations:

• Pro Tools Vocal Studio turns the computer into a complete vocal recording studio. This bundle includes the Producer USB microphone, a studio-quality mic that lets people capture vocals, as well as record acoustically played instruments. The Producer USB mic lets people record with stunning clarity, whether they’re singing a future hit song or narrating a family biography. And with Pro Tools M-Powered Essential, it’s easy to remix vocals to produce professional-quality soundtracks and podcasts with ease.
• Pro Tools Recording Studio enables people to craft professional-sounding songs and remixes — no experience needed. With the included Fast Track® USB audio interface plugged right into the computer, music enthusiasts can capture pristine digital sound for any recording project, whether from a guitar or a standard microphone. With Pro Tools M-Powered Essential software, consumers can dub, mix, remix, edit, blend, restore, hone and more to create audio projects that will sound like they came from a pro — even if someone’s never recorded a note before.
• Pro Tools KeyStudio features the M-Audio KeyStudio USB keyboard, a simple, yet high-quality 49-note velocity-sensitive keyboard that also functions as a MIDI interface. With Pro Tools KeyStudio, users can record a single keyboard track or create a complete orchestral recording using the KeyStudio to input any of the 60+ virtual instruments that come loaded with Pro Tools M-Powered Essential.

Jazzmutant Lemur Weird MIDI Sequencer

via lostinetwork:

This video shows some applications from Lemur Breakpoint Object working like a MIDI sequencer, nodes triggering notes and fix them to a selected scale, minor, major, penthatonic, etc.

Also there´s a cc automation page to remote synth/sampler parameters.

The Main idea was to use it for soundscapes, and some pseudo random melodies.((Still in progress))

This is a demo of a Peggy 2.0 based giant LED system, which can be used to play old-school video games, or make generative music!

Details below.

via SenorBon:

We built a giant LED board, about 6.5×6.5 feet, with 900 LEDs using ping-pong balls as diffusers.

It can play Conway’s Game of Life, Pong, and Sketch mode that allows you to create a starting pattern for Life. We output board state information to a MIDI board that allows us to make music based on what is displayed. This gets interesting with Life, creating minimalist generative music.

See pictures here.

Thanks to Evil Mad Scientists for their Peggy 2.0, upon which we based the circuit for our project.

Description:

Delivering the exact same audio quality and performance as the acclaimed AUDIO 8 DJ and AUDIO 4 DJ interfaces that are used by professional club DJs worldwide, the AUDIO 2 DJ offers users of TRAKTOR and other DJ software a unique new balance of quality, size and price.

With a footprint no larger than a deck of cards, the bus-powered AUDIO 2 DJ literally fits in a pocket. At the same time, it can accommodate the most demanding club systems due to its studio-grade 24bit/96kHz Cirrus Logic converters and its special high-power output amplifiers capable of delivering a pristine +9.7dBu audio signal. Robust low-latency drivers for Windows and Mac OS X enable the responsiveness that DJs need for tight mixing.

The dual stereo outputs of the AUDIO 2 DJ provide the necessary connectivity to route two decks separately into an external DJ mixer, or to output independent master and cue signals when mixing in software. Two included RCA break-out cables make set-up fast and convenient, making AUDIO 2 DJ the ideal audio interface for travelling DJs who don‘t want to compromise on performance and quality.

AUDIO 2 DJ is available for purchase for a suggested retail price of $119 USD / 99 EUR.

Steinberg has introduced the CI2 Advanced Integration USB Studio, which combines an audio interface and control surface with Cubase AI 5 for a complete production solution.

CI2 costs €229.00/£191.00 and will ship to Steinberg resellers worldwide from the end of September 2009.

Description:

CI2 features many workflow features designed to make the entire hardware and software system very easy to use. The AI Knob controller becomes a sound browser with a single push, and is integrated into browser windows in Cubase to find the right instrument sound or loop more quickly by scrolling through and (de)selecting entries in the sound browser windows. Interactive Recording mode uses the optionally available footswitch for hands-free recording, ideal for guitarists and vocalists recording their own performances. The Project Assistant is a new Cubase AI 5 feature that offers a large range of templates for many production tasks and genres, allowing for setup of new projects in seconds. Highlighting ease-of-use and intuitiveness as one of the major design goals for CI2, Schreiber comments: “These features have one purpose: to simplify recording and production, reflecting the uncompromising focus on supporting newcomers to digital music production.”

The included Cubase AI 5 is a streamlined version of Steinberg’s highly successful Cubase 5, with audio technology found in countless professional production environments worldwide. Cubase AI 5 offers up to 48 audio tracks, 64 MIDI tracks, a range of audio and MIDI plug-ins including a new version of the AmpSimulator plug-in for guitarists, virtual instruments, editing features, comprehensive automation and much more. As with all Cubase and Steinberg hardware products, CI2 supports both Windows and Mac OS X.

CDM’s Peter Kirn has put together a very nice look at the new Cakewalk V-Studio 100, an example of a new class of all-in-one computer music devices. .

The Cakewalk V-Studio 100 features:

• High Speed USB 2.0 Audio Interface
• Universal DAW Controller
• Personal Digital Mixer
• SD WAV Recorder
• VS Production Pack suite of virtual instruments and effects (Mac/Win)
• SONAR VS digital audio workstation (Win)

About the V-Studio 100, Kirn says:

At US$699 street, there are cheaper options around, but by the time you add a control surface, a mobile recorder, a mixer, and an audio interface together, it’s a different picture. There are also other control surface-mixer-interfaces out there, but some skimp on audio quality while others lack the VS’ elegant compactness.

The VS still counts as the most control, mixing, and audio functionality I’ve seen in any backpack-friendly box. And as such, for the laptop music production warrior wanting to maximize space and power, it’s part of a handful of essential gear to consider.

If you’re a Sonar user, checking out the Cakewalk V-Studio is a no-brainer. The V-Studio offers Mackie Control support, though, so it’s an option to consider for use with other apps, too.

See CDM’s coverage here.

This video captures some of the construction details of a DIY computer-controlled glockenspiel, then offers a cover of Jean Michel Jarre’s Aerology as a demo.

via organfairy:

Instead of just banging on some bells with some hand held mallets I decided to make a set of electrically operated bells.

Actually it is two sets of kindergarten glockenspiels that was tuned in C. But I put them together and tuned one of them a semitone higher so that I got a chromatic scale.

I build a wooden frame and added a motor driven mallet for each bell and finally build a control circuit for it. It can be controlled by a computers parallel port or by simple switches – like the switches under a keyboard.

It doesn’t have MIDI but I might build a MIDI interface for it.

The melody that goes with this video is “Aerology” by Jean Michel Jarre. It was originally played on big tubular bells. But I think my small fairy-bells does a good job here. The other sounds are played on the Yamaha HE-8 and Technics SX-C600 organs, Roland E-15 and SH-2000 synthesizers, Yamaha VSS-30 toy keyboard, and Korg Rhytm 55 drum machine.

Fairlight’s Peter Vogel shared more information on his 30th Anniversary Fairlight CMI 30A with Sonic State. From the sound of it, the new Fairlight Computer Musical Instrument is going to be expensive, hard to get and awesome.

According to Vogel:

The 30A will look like and perform like the original CMI, although the mainframe will be much lighter for portability. The look and feel of the user interface will also be similar to the original, with retro green on black graphics like the original. A replica of the original music keyboard will also be available as an option, or you can use your own MIDI keyboard.

The software will combine the very best of the early series II and III features, with a multitude of additional features. Sound quality of 8-bit, 16-bit, or “best quality” 36-bit floating point can be selected, and existing Fairlight users can import their entire sample libraries. Even better, non-Fairlight sounds, such as WAV files can be imported and specified to play back with the classic Fairlight sound.

Internally it will be all digital, but will use FPGA technology to provide “virtual hardware” emulation which will exactly model the original analog circuitry. There will be 16 analog outputs and a stereo sampling input.

Vogel plans a run of 100 units, which he expects to be available next year. Pricing is to be determined, but Vogel does not expect the cost to be competitive with other samplers.

This video looks at how you can streamline your Mac for DJing with one click, including quitting out of programs, shutting off Airport, Adjusting your Energy preferences and audio preferences and more.

via eangolden

Richard Devine’s “first little messy beat jam with the Monemur patch for the Lemur controlling MLR.”

Monemur is a Monome emulation for the JazzMutant Lemur.

This is a Loop Shaper tutorial. In less than 4 min., it teaches you how to use Loop Shaper with Percussa AudioCubes.

The DJ Machine – a “Finger Orchestra For The DJ” is a design prototype dj controller that features Playstation-style joystick controls:

If spinning music is your hobby (or job), then the DJ Machine is quite an intriguing prospect for you. The system features seven, 360° rotatable joysticks similar to a synthesizer that modify music in a “haptic and playful way.” Each of the joysticks can be personalized with individual sound effects and can transmit the sound to a receiver via Bluetooth. Sporting bright LED displays, the entire unit looks pretty jazzed up, but the honest confession of Sony-PS-controllers-inspired-tech-for-joysticks is quite heartening!

More images at the design blog Yanko Design.

via peetz155

This video, via soundonsoundvideo, takes a look at the Akai LPK25 & LPD8 portable laptop music controllers, which were introduced at the 2009 Summer NAMM Show.

This video demos Lennon Luks‘ sick matrix-style MIDI sequencer, his senior design project for earning his BS at Western Carolina University.

Luks summarizes the project like this:

This project was to design and construct a hardware MIDI control device that will aid an electronic musician in the performance of electronic music. The main intention was to give the user as much versatility as possible without the need of a helper application running on a computer, so the device can be used to control audio on any device that accepts MIDI data, whether it is a computer or not.

The main feature of this device is an 8×8 grid composed of 64 LED-lit buttons, which can be used as a step sequencer. Another feature of the device is 8 knobs, one to control the tempo of the sequencer, and 7 to control various audio parameters via MIDI.

The device also has an LCD for displaying various settings, the current tempo, and status of the sequencer. Five buttons are used for navigation through the menus on the LCD and for changing settings. Three other buttons are used to control the sequencer. The design is centered around the ATMEGA644 microcontroller and the firmware is written in C. The avr-gcc toolchain was used for the software development.

Luks’ matrix sequencer shares a lot with other designs, such as the monome or the APC40 – but Luks’ sequencer is designed to interface directly with instruments via MIDI, independent of a computer.

via hackaday