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

Hinton Instruments has introduced SwitchMix, a compact switched routing matrix for both audio and dc coupled control voltages. According to Hinton, the SwitchMix offers “all the advantages of pin matrices without the problems.”

Details:

SwitchMix may have balanced or unbalanced compatible inputs and outputs, extending its use beyond synthesizer patching to other audio routing applications including multitrack and effects routing and headphone mixes. The balanced inputs make it suitable for interfacing DAW sound cards into a synthesizer for Silent Way and Volta users.

Two Eurorack versions of the SMX8 are available, with or without front panel jacks. Rear connections are via DB25 sockets conforming to the Tascam balanced analogue pinout. The SMX8EJ (shown) has front panel 3.5mm unbalanced jacks for synthesizer connections and occupies 42HP of Eurorack space. The SMX8EB has balanced Bantam/TT jacks. Other combinations and custom normalling are possible.

Custom build options are available. Prices start from £399, EC orders received before 1st January 2010 will be charged with 15% VAT.

The ambient gurus at disquiet snagged a copy of Tristan Perich’s 1-Bit Symphony, a unique piece of audio art:

1-Bit Symphony isn’t a CD; it’s a small homebrew electronic device nestled inside a CD case. It is, in that way, a kind of parallel to the Buddha Machine (and the forthcoming Gristleism). The 1-Bit Symphony is to the compact disc what the Buddha and Gristleism boxes are to transistor radios. They’re lo-fi music-producing technology packed inside the familiar form of a pretty much outdated music-producing technology.

When the switch seen second from the left inside the box is flipped to its right, the machine starts emitting lo-fi sound (it’s necessary to attach headphones to the audio jack to hear the music). There are five “tracks” in all, “movements” they’re titled here. The first four are between five and 10 minutes in length. The fifth will play forever, or at least until that replaceable battery dies. In brief, the music is a series of cascading little beeps that suggest Philip Glass as a character in a Mario Bros. video game.

Earlier in the year, Moldover released his CD in a theremin CD case.

More at disquiet.

The video demonstrates a mindblowing touch-enabling self-organizing map for automatically organizing and browsing a library of 600 electronic music songs.

We do our best to avoid “cute kitty with music gear” photos at Synthtopia. You can only get so excited about another shot of somebody’s cat peaking out of their Buchla modular synth or sleeping on their Korg OASYS.

Jaded as we may be, though, this is the cutest kitty DJ in the world.

Ohhhh, kitteh so cute!

We’ll try to redeem this post by linking to the source of this photo, the blog of Ryan Gruss – a drummer who says that “the world has been overrun by shitty producers with their 808 samples and re-mixed Ableton Live schlock.”

Gruss is drummer on a mission to put more groove in your mix, and he’s doing it by blogging a free professionally recorded drum loop every day. He includes MP3 previews, but also multitracked Logic sessions and mixed down WAV, AIFF and REX2 files.

They’re Creative Commons licensed, so you can slap it up, flip it and rub it down as long as you give Gruss credit.

Special Secret Groove Sauce: Gruss’s RSS feed has MP3 enclosures – which means it’s a podcast and you can subscribe to it with iTunes and get the free loops delivered to your ears automatically.

In iTunes, navigate to Advanced – Subscribe to Podcast and paste in his feed URL: http://feeds2.feedburner.com/ryangrusscom

Hollow Sun has announced plans for a new virtual instrument based on the rare and amazing Hammond Novachord – a polyphonic analog synthesizer released in 1939!

The Novachord is sort of the B3 of synthesizers – a huge, unwieldy beast that sounds like nothing else.

Unlike the B3, though, the Hammond Novachord has largely been forgotten. They were expensive, few were made, and few have survived because of their complexity.

The Novachord features divide-down oscillators and individual envelopes and LFO for each note. Yeah – this thing could do 72-voice polyphony in 1939!

Here’s an example of what this 70 year-old monster synth can sound like:

Imagine if this technology had taken off!

The Hammond Novachord Sample Library

Hollow Sun is working with Novachord owner Dan Wilson of Hideaway Studios in Bath, England, to capture the sound of this beast in all its epic glory.

Here’s what they have to say about this project:

Work has begun on this and tentative sampling sessions are beginning to reveal what lies ahead of us – textures that would not be out of place on a modern synth 70 years on in 2009 but with a strangely ‘earthy’ and ‘organic’ quality quite unlike I’ve heard before, full of flawed nuances and subtelty. The Novachord doesn’t generate sounds … it breathes them in gasps and grunts and squeals and whispers!

It’s early days. As time allows, I shall be bringing news of progress on a (hopefully) regular basis … so bookmark this Blog to watch us through our laboratory’s musty window. Dan and I aren’t quite ponsing about in white coats here (I favour a good tweed and a robust brogue!) but it feels a bit like it as Dan probes and regulates the 70 year old valves and massive capacitors with voltmeters and oscilloscopes and I work the resulting samples into an accurate representation of this incredible instrument.

No release date or pricing has been set.

Rocketboom Tech’s Ellie Rountree explains generative music and talks to laptop musician Luke Dubois about his work in this medium.

It’s not a very clear take on generative music, but it’s interesting to see this covered in (relatively) mainstream Internet media.

via ROCKETBOOM:

This episode was made in collaboration with Intel!

Generative Art
http://en.wikipedia.org/wiki/Generati…

Luke DuBois
http://lukedubois.com

For more information on this episode visit: http://rocketboom.com/generative-art

For up to the minute updates, follow us on Twitter!
http://twitter.com/rocketboomtech
http://twitter.com/elspethjane
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Michael Una looks at using the $44.95 Highly Liquid MD24 MIDI decoder kit to control a handmade analog bass line sequencer and drum machine via Ableton Live.

John Cage is the subject of a new museum exhibition in Barcelona. The exhibit looks at Cage’s works in various media and his impact on all forms of contemporary art.

The New Yorker’s Alex Ross shares his thoughts on the highlights of the exhibit – but also raises this conundrum:

The great oddity of twentieth-century art history is that while Rauschenberg, Jackson Pollock, and other radical postwar painters are almost universally hailed as masters, their works drawing huge crowds in museums, Cage is still often treated as a freak or a charlatan.

The distinction makes no intellectual sense, but there it is.

It is striking that someone as influential as Cage – as a composer, author, electronic music pioneer and artist – hasn’t found an audience that reflects his influence.

Ross is right. Many people that might appreciate Rauschenberg or Pollock would cringe at the idea of sitting through a concert of Cage’s works.

Maybe the answer to Ross’s conundrum is as simple as this: you can’t close your ears.

If you see a painting that’s confrontational, ugly or incomprehensible, you can close your eyes or walk away. You are in control of the experience.

At a concert of music by an artist like Cage, you can’t close your ears or move on to the next thing. You aren’t in control of your experience – you can just react to it.

This seems to be a fundamental challenge of electronic music (and to a certain degree, music in general); when anything is possible, how do you create music that is original, yet still has the power to seduce someone’s ear?

via disquiet; Image: fallwithme

• ProToolerBlog has a large list of 27+ resources for free Kontakt sounds
• Rekkerd has over 35 sources for free Kontakt sounds

If you’ve got other suggestions, leave a comment below!

This video demonstrates the effects of using compression in a mix.

Discussing compression is opening a can of worms. Robert Henke (Monolake) avoided compression on his latest release, commenting:

Radio, and more recently mp3 players and laptop speakers influenced the way popular music is composed, produced and mastered: Every single event has to be at maximum level all the time. This works best with music that is sonically simple, and music in which only a few elements are interacting. A symphony does not sound convincing thru a mobile phone speaker, and a maximized symphony does not sound convincing at all.

My take on compression is that extreme compression would ideally be left to playback devices, unless it’s being used as a creative tool. If you’re listening to that classical symphony or Monolake release in your car, you could push the “compression” button and hear the quiet bits, without the need for for the track to be squashed.

via muzicali:

Wondering how much compression you should use in the mix? Maybe you’re skeptical that compression really makes a difference? Its a difficult effect to get a handle on and to really use effectively. It starts by being able to hear the difference between a mix that has compression and one that does not. To this end, Ive cooked up a phat drum beat and given it a mix with lots of compression. In this video, I switch all of the compressors on and off while the beat is playing, so you can hear the difference. And, at the same time I flip through the compressors on each channel so you can peep my settings. Enjoy!

Inventor, author and futurist Ray Kurzweil appeared on I’ve Got a Secret in 1965, when he was 17 years old, demonstrating his music-composing computer.

Is the Turntable a musical instrument?

Can it work as a ‘classical’ instrument?

These were the first questions posed by idea of a Concerto for Turntables.

Gabriel Prokofiev’s Concerto for Turntables & Orchestra (Heritage Orchestra Feat. DJ Yoda) attempts to answer those questions.

Should the turntable join the instruments of the classical orchestra?

Give it a listen and let me know what you think.

via apc

via the Times UK:

This is the graph the record industry doesn’t want you to see.

It shows the fate of the three main pillars of music industry revenue – recorded music, live music, and PRS revenues (royalties collected on behalf of artists when their music is played in public) over the last 5 years.

We’ve broken each category into two sub-categories so that, for any chunk of revenue – recorded music sales, for instance – you can see the percentage that goes to the artist, and the percentage that goes elsewhere. (In the case of recorded music, the lion’s share of revenue goes to the record label; in the case of live, the promoter takes a cut etc.)

Hopefully, this analysis – and there’s more on the nuts and bolts of our method below – sheds some factual light on the claims and counter-claims that are paranoically sweeping across the music industry establishment, not least that put forward by the singer Lily Allen in this paper recently – and the BPI – that artists are losing out as a result of the fall in sales of recorded of music.

The most immediate revelation, of course, is that at some point next year revenues from gigs payable to artists will for the first time overtake revenues accrued by labels from sales of recorded music.

Why live revenues have grown so stridently is beyond the scope of this article, but our data – compiled from a PRS for Music report and the BPI – make two things clear: one, that the growth in live revenue shows no signs of slowing and two, that live is by far and away the most lucrative section of industry revenue for artists themselves, because they retain such a big percentage of the money from ticket sales.

The long and short of it – the music industry’s “decline” isn’t as simple as record labels would like us to believe, and that musicians are getting a bigger slice of the music industry pie than they have in the past.

Indie music blogger Bob Baker asked his readers for their feedback on things that keep them from reaching their musical goals.

They’re all things that I could relate to, and they’re probably things that most musicians can relate to.

Here are the ten that jumped out at me:

10 Things That Keep You From Reaching Your Musical Goals

1. Not setting goals to begin with
2. Lack of time
3. Not planning well enough
4. Procrastination
5. Not prioritizing my goals
6. Lame but convenient excuses
7. Not knowing where to start
8. Perfectionism
9. Fear of failure
10. Facebook

What’s interesting about the list is that almost all of the reasons that musicians come up with for not reaching their goals are things that they/we control.

There are a couple of things that didn’t make Baker’s list, but probably should have:

• not sucking;  and
• not finding an audience.

Not sure who controls that, though.

Let me know what you think of Baker’s list. And – is anything holding you back?

Image; Caesar Sebastian

Blue Microphones

Yeti Features:

• The first USB mic to offer Blue’s condenser capsules in a  triple capsule array for the highest quality, most versatile audio recording capability
• Four patterns (Omni, Cardioid, Stereo, Bidirectional) for  versatility and superior results
• THX certification
• Studio quality performance and features, with zero latency, amplified headphone monitoring, microphone mute, and hardware-based gain adjustment
• Driverless installation and works with both PC and Mac.
• The Yeti’s angle can be adjusted on its custom-designed desk stand.

The Yeti microphone is designed to offer quality recordings in a wide range of situations, including podcasts, vocals, live or event recording, interviews, broadcasts, instruments, bands and more.

“THX testing and certification ensures the fidelity of the recording always remains true to its source” according to Matthew Chrispen, director of certification at THX, “allowing artists to accurately capture voice-overs, interviews and other sound elements with confidence.”

The Yeti, MSRP $149.99, will be available beginning December 2009.

If you’ve used the Yeti microphone, leave a comment with your thoughts on it!

While the site of a large modular synth, a Roland TB 303 or a Fairlight CMI III is titillation enough for most synth freaks, the 2010 APC calendar goes a step further.

Here’s what APC’s Simon Iddol has to say about their 2010 calendar:

The calendar itself is a limited edition (500 copies) A3 sized wall calendar featuring legendary synths like Fairlight CMI III, Roland TB 303, PPG Wave, EMS AKS or Roland Jupiter 8.

Our aim is to create a calendar like this in every year and to do something for the music world like the Pirelli calendar for the car world.

If every garage has a hot chick VS cool cars calendar, than every studio needs our calendar.

The model is a world famous Hungarian striptease dancer and model Dorothy Black.

The politically correct side of me thinks that they should have balanced out the gear photos featuring the “world famous Hungarian striptease dancer” with some shots with a hunky naked guy – but photos of naked guys with monster synths would probably kill the vintage synth resale market on eBay forever.

The calendars are $30 via PayPal. Details at the APC site.

SFW preview (that’s probably NSFW) here.

Mark of the Unicorn (MOTU) has announced the 10 input/14 output Ultralite-mk3, an audio interface that they say is the first ever “hybrid” audio interface, offering FireWire and USB 2 connectivity to Mac and PC computers.

They haven’t put up official availability or pricing info yet. If you know anything on this, leave a comment.

Details on the Ultralite-mk3 below.

Feature summary

• Hybrid FireWire/USB2 connectivity — connect to your computer via either bus-powered FireWire or hi-speed USB2.
• CueMix FX™ — flexible 10 input/14 bus mixer with on-board DSP effects, including reverb with sends/returns, plus EQ and compression on every input and output.
• 10 inputs / 14 outputs — there’s no channel sharing in the UltraLite-mk3 Hybrid; the mic inputs, S/PDIF I/O, headphone out and main outs are all handled as separate channels.
• Classic Reverb™ — provides five different room types, three frequency shelves with adjustable crossover points, shelf filtering and reverb lengths up to 60 seconds.
• Two forms of compression — a standard compressor with conventional threshold/ratio/attack/release/gain controls and the Leveler™, an accurate model of the legendary LA-2A optical compressor, which provides vintage, musical automatic gain control.
• Modeled EQ — provides 7-band parametric EQ modeled after British analog console EQs, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36 dB.
• CueMix FX cross-platform mixing software — attractive graphic mixing, graphic editing of parametric EQ and a convenient tabbed interface for quick access to all features in one window. Also provides full-screen real-time FFT display, spectrogram “waterfall” display, oscilloscope, X-Y plot and linear or polar phase analysis.
• Front-panel control — access any setting in your entire UltraLite-mk3 Hybrid mix directly from the front panel.
• “Reverb return” stream — allows users to record or mix UltraLite-mk3 Hybrid reverb output separately in their DAW. Effects can also be applied when the UltraLite-mk3 Hybrid is operating stand-alone (without a computer) as a complete stand-alone mixer.
• Stand-alone operation — program your mixes at the studio and then bring the UltraLite-mk3 Hybrid to your gig — no computer needed. Just plug in the included power adapter and you are ready to go. Need to tweak the mix? Do it on site using the back-lit LCD and front-panel controls.
• Multiple CueMix FX mixes — for example, create different monitor mixes for the main outs and headphones. Or add send/return loops for outboard gear — with no latency.
• Two combo jacks provide hi-Z 1/4” guitar input or low-Z XLR mic input with phantom power, pad and plenty of gain.
• Eight 24-bit 192kHz analog inputs and outputs on balanced/unbalanced 1/4″ TRS jacks
• Precision Digital Trim™ — Digitally controlled analog trim on all analog inputs (mic/guitar inputs + quarter-inch TRS inputs) provides accurate adjustements in 1 dB increments. Fine-tune the balance of your analog inputs and then save/recall trim configurations.
• Direct Digital Synthesis™ (DDS) — a DSP-driven phase lock engine and internal clock source that produces imperceptibly low jitter characteristics (below the noise floor), even when the UltraLite-mk3 Hybrid is resolved to an external clock source via SMPTE time code.
• Time code support — directly resolves to (or generates) time code via any quarter-inch input or output, without the need for an extra synchronizer.
• Sample-accurate MIDI — connect a MIDI controller and/or sound module with no separate interface needed. MIDI I/O is sample-accurate with supporting software.
• Expandable — add additional interfaces for more I/O as your needs grow.
• Separate TRS main outs with front panel volume control.
• Stereo 24-bit 96kHz S/PDIF in/out.
• Includes drivers for Mac & PC, including ASIO, WDM, Wave, Core Audio, and Core MIDI. Supports all popular Mac and Windows audio software.
• 100% compatible with all host-based effects processing in today’s popular audio programs.
• Includes AudioDesk full-featured sample-accurate workstation software for the Mac with recording, editing, mixing, real-time 32-bit effects processing & sample-accurate sync.
• Plug-and-play operation with your Mac or PC via FireWire or USB2.
• Front panel volume control for monitoring. Stereo, Quad, 6.1, 7.1 and user-defined surround monitoring setups available.
• Front panel headphone jack with volume control.
• Bus-powered FireWire operation. No need for external power when operating as a FireWire interface connected to a computer. A power supply is included for stand-alone operation.

According to Nielsen Soundscan, sales of vinyl albums in 2009 have already topped the 2-million mark.

This beats 2008’s, 1.9 million, which means that 2009 sales of vinyl LPs are on target to be the highest since at least 1991, when Soundscan began tracking music sales.

Digital music sales aren’t doing too bad, either.

Total purchased album downloads are on pace to top last year’s figure of 65 million.

This is a cool trend. In my book, the perfect music format is Vinyl + MP3; you buy your nice big sexy album and you get a download code along with it.

What do you think about the resurgence of LP sales?

Is this just a vinyl fetish – or do you think vinyl actually offers a better way to get your music fix?

via LATimes

Image: karola riegler photography

OT: This video’s been around for a while – but it’s still as awesome as ever.

Ever think what you’re doing doesn’t make a difference – or that one person can’t do much to change things?

Check out how one guy, dancing like an ecstatic madman, changes a ho-hum show into an unmissable dance party. With people running to join in the fun, holding their camera phones over their heads to catch the action.

I’ve seen this happen at gigs before and it completely changes the energy, for both the crowd and the musicians.

If you know this guy, or someone like him, invite them to your gig. Give them your CD. Be their groupie.

One ecstatic madman fan could be enough.