Music networking startup MusicianLink has introduced the jamLink – an Internet audio interface enabling musicians to play in sync from multiple locations across town or hundreds of miles apart.

The jamLink delivers CD-quality audio and works with guitars, bass, keyboards, drums and vocals – basically any instrument or mic that has a 1/4” instrument output.

Here’s how it works:

The jamLink requires a high-speed Internet connection, a web browser and headphones. There is no software to install; It was designed with plug and play ease in mind.

The jamLink is equipped with an Ethernet port that connects it to your network and is controlled by software hosted by your computer’s web browser. Once users log into MusicianLink.com, they can manage and initiate the jamLink sessions as easily as starting a chat session.

MusicianLink.com is a social network for jamLink users. Like other social networks, you can find and make friends, and connect with other musicians of similar talent and interests. Each jamLink user creates a profile and is able to search for compatible partners based on music style, instrument and ability. MusicianLink.com friends can share MP3 files, chat, and post messages.

The jamLink is now available directly from MusicianLink.com for $244 (introductory pricing) or save up to 25% when you purchase three or more.

If you’ve used jamLink, leave a comment below about your experiences with it!

More details and a demo below.

“After doing a lot of research and development, I realized that the only way to jam over the Internet was to build a dedicated piece of hardware that consistently provides the lowest latency and highest-quality audio. Audio cards, software, internal busses and operating systems each introduce too much latency,” said David Willyard, CEO of MusicianLink. “What is unique about the jamLink is that you get this “in-the-room” feeling, because you are playing in sync with someone who could be hundreds of miles away.”

Bandwidth Requirements

The jamLink requires a high-speed Internet connection. The recommended minimum bandwidths are 1,000 kbps upstream and 2,000 kbps downstream. The jamLink works with Windows, Mac or Linux operating systems and uses a standard web browser for operation.

This is a demo video for the modern mini-synth classic, the Korg microKorg synthesizer.

Description:

State-of-the-art analog modeling and multi-band vocoding are available in a compact, portable instrument. With 37 keys and 128 user-rewritable programs, the microKORG Synthesizer/Vocoder is designed for the performer, producer, computer musician or beginner looking for an affordable synthesizer.

Korg microKORG Synthesizer/Vocoder Features:

• 128 user-rewritable programs
• 37-key mini keyboard
• Powerful synthesis
• Classic vocoding
• A full range of effects
• Great sounds and expression
• Flexible arpeggiator (6 types)
• Clear control and classic looks
• Can serve as a compact MIDI controller

EM’s David Battino had this to say about the Korg microKorg:

It’s easy to slip into critic mode and forget that making music is supposed to be fun. The MicroKorg is frustrating if you expect to play and program it like a full-size keyboard synthesizer, but as a portable, creative gadget, it stands alone. If you can justify spending $500 on a terrific-sounding musical toy (and I use that word in a very positive sense), you won’t go wrong with the MicroKorg.

The Korg microKorg retails for $399.

If you’ve used the Korg microKorg – leave a comment with your thoughts!

Specifications:

Sound Generation Method:
Analog Modeling Synthesis System

Synthesizer Program:
Multi Timbral:
2 (max, Normal/Dual Mode)

Voices:
4 voices

Sound Source:
2 Oscillator + Noise Generator
Multi Mode Filter (-24dB/oct LPF, -12dB/oct LPF/BPF/HPF)
EG x2, LFO x2, Virtual Patch x4

Vocoder Program:
Voices:
4 voices

Sound Source:
1 Oscillator + Noise Generator
EG x1
LFO x2
8 Channels vocoder
Level and pan of each channel can be edited
Formant Shift function

General Specifications:
Programs:
128 programs

Effects:
Modulation effects (3 types)
Delay (3 types)
Equalizer

Arpeggiator:
6 types

Keyboard:
37 Keys (mini-keyboard, velocity sensitive)

Inputs:
AUDIO IN 1, and 2

Level switch:
LINE/MIC
[AUDIO IN 1, 2 (LINE)]
[AUDIO IN 2 (MIC)]

Outputs:
L/MONO, R and Headphones

MIDI:
IN, OUT and THRU

Display:
3 characters x1 line with 8 segment LED

Power Supply:
DC 9 V (AC adapter), or six AA alkaline batteries (sold separately)

Power Consumption:
6.4 Watt maximum

Dimensions:
20.63″(W) x 9.13″(D) x 2.76″(H) 524mm(W) x 232mm(D) x 70mm(H)

Weight:
4.85 lbs. 2.2 kg

Accessories:
AC adapter (DC 9 V, 600 mA)
Condenser Microphone

Korg microKorg Resources:

• Official info page
• EM review

OT: Some days, you get Dave Smith Instruments’ Prophet ‘08.

Some days, you get Ableton Live 8.

And some days, you get Two You Tube Videos And A Motherfucking Crossfader, a site that turns your web browser and your favorite YouTube dance tracks a rudimentary DJ setup.

Use the twin search fields to help cue up your next tracks, press play and then start crossfading.

via PranksterDice

The Yamaha CS-50, a vintage synthesizer from 1976,  is a scaled down version of the classic Yamaha CS-80 and CS-60 synths.

It offers 4-voice polyphony, with 1 oscillator per voice.

While it has a much simpler architecture, it offers a relatively inexpensive option for getting the classic Yamaha CS sounds.

If you’ve used the Yamaha CS-50, leave a comment with your thoughts!

Resources:

• Yamaha CS-50 at VSE
• Old Crow’s Synth Shop
• Video via lovesvintagesynth

Sonic State Labs takes a look at the new Apple Logic Pro in this video review.

via sonicstate

Synthtopia regular Torley takes a look at Plogue Chipsounds, with a preview of the standard patches and a few hickups along the way.

Don’t forget to check out Torley’s site sometime, where he’s got 100s of free, gorgeous pieces, including play while answering email & Vangelis meets Ryuichi Sakamoto.

According to Mosher, in the last year “the blog experienced non-linear growth in page views and subscribers.”

Non-linear growth is good. And, while I’d like to think the growth is because of “the Synthtopia effect” (server-killing waves of traffic triggered by Synthtopia posts*), it’s really because Mosher has been publishing a lot of interesting stuff.

Check out Mosher’s recent tutorial on step sequence editing in Ableton Live 8:

Click here to view the embedded video.

This is great information, professionally presented. The kind of stuff you’d have to buy a tutorial DVD to get, if it weren’t for people like Mosher.

So, if you haven’t yet, check out out Modulate This! and help Mosher make this the site’s biggest year yet.

* Note: The “server-killing waves of traffic triggered by Synthtopia posts” only actually exist in my  imagination.

Create Your own “Synthetic Symphony”, with Nick’s Online Synthesizer.

via richarddevine

The Korg MicroSampler may have only been announced a couple of weeks ago, but Sonic State’s Nick Batt has already run the MicroSampler through its paces.

His overview video, above, offers a good look at the hardware itself and how the MicroSampler works.

Batt says:

The microSAMPLER is not going to be a sampling workhorse for you if you require large string libraries or hours of storage, but as a simple loop replay device or maybe sound effects trigger for a theatre production, it could really fit the bill. Where the microSAMPLER’s strength lies is in the ability to quickly set up loops or phrases. With some careful planning and arrangement, I dont see why it couldn’t run the show, negating the need for a laptop – assuming you dont need to run a LOT of audio and backing vocals etc.

If you’re interested in the Korg MicroSampler, don’t miss Batt’s full review.

And if you’ve used the MicroSampler, leave a comment and let us know what you think of it!

He sent us a copy of his 2008 album Electronic Secret, a 10-part suite of electronic instrumentals that he describes as “Nice chill Electronic music with a touch of Jean Michel Jarre, Kitaro, Vangelis ….”

In other words – his music is inspired by the late 70’s-early 80’s golden age of synth music.

Of the influences that Henriksen notes, the most obvious is Jarre. Henriksen’s obvious affection for Jarre’s music may excite some and turn off others, but, for fans of classic synth music, Electronic Secret deserves attention on its own merits.

The album is made up of 10 songs in a continuous mix. The songs are melodically focused, with simple themes that are repeated with various instrumental combinations. Henriksen creates interest through tasteful arrangements and his choice of sounds, rather than from fiery solos.

Here’s a video of Glenn and his daughter Iselin performing Part 10 of Electronic Secret, in concert in 2008:

Click here to view the embedded video.

Electronic Secret has limited distribution as a CD – but you can get Henriksen’s album at Amazon, via the link above, as MP3s.

Imageline’s new video for FL Studio 9 is more style than substance – but it’s still kinda sexy.

Details on the new features are listed below.

If you’ve used FL Studio 9, leave a comment with your thought on it!

Here’s what’s new in FL Studio 9:

• Sidechaining – The FL Studio Mixer ‘Track Send’ now has an additional ‘Sidechain’ mode to support multiple-input mixer plugins.
• Multi-core CPU (Hyperthreading) – Improved multithreaded generator & added multithreaded effects processing.
• Multiple controllers – Can now control multiple independent instrument channels, assigned by MIDI number.
• Revised Playlist
• Playlist track naming & icon – Tools for better song organization.
• Riff machine – Automatic sequence generator tool.
• Mixer now has 99 Insert tracks (up from 64).
• Multi-core CPU support – Added ‘multithreaded mixer’ tracks processing for improved multi-core performance

New Plugins:

• Autogun (free) – Sonic adventure, Based on Ogun.
• Sakura (demo)- String physical modelling instrument
• Ogun (demo)- Additive metal simulation synthesizer
• Gross Beat (demo) – Real-time, audio-stream playback, pitch, position and volume manipulation effect
• Stereo Shaper (free) – Mid / Side stereo processing
• Vocodex – The last word in vocoders (free with Producer Edition).

We’ve criticized a couple of misguided web site redesigns recently, but Peter Kirn at Create Digital Music beat us to the punch on the strangely familiar new Behringer site:

Look out: Behringer, already a notorious rip-off artist, is taking the “first step in [the] company’s reinvention of online presence.” I shudder to think what the coming steps will look like. But yes, the new site looks a wee bit familiar. It actually gets worse as you dig into the layout.

In fairness, for over a decade now, Apple’s site has perhaps the most ripped-off Website design on the Internet. But then, Behringer is special.

I don’t know about you….but I’ve got a strange feeling of déjà vu…..

It’s worth checking out, but you may find the new site frustrating, because of some bad Web design decisions.

Like the way they present their new lineup:

This is new gear, right?

So, how is someone supposed to know what the heck a BA-330 or a FRV-1 or a VE-20 or a GW-8 Version 2 is?

Are we supposed to just click around and look for something we might like?

The Web site is supposed to sell music gear, not be a game of stump the customer!

If you’re interested in one of Roland’s new products, take a look at the new site. There’s a lot of good info there and multimedia demos, too.

But, please – Roland, Native Instruments and anybody else spending good money on a new website – make your Web designers deliver a site that’s not just sexy, but seductive.

Sony

Update features include event-based editing, the élastique time stretch and pitch shift plug-in, interactive tutorials and a mastering effects bundle.

Details below.

If you’ve used Sony Sound Forge Pro 10, leave a comment with your thoughts!

New Features:

• Event-based editing is ideal for precise audio mastering, assembling project sketches, or laying out tracks for authoring disc-at-once CDs. In Sound Forge 10, users can quickly move, split, slip, and trim events, create fades, apply ASR envelopes and crossfades within in a single data window for more precise audio control.
• Integrated disc-at-once CD burning results in time savings and provides a more efficient workflow when generating Red Book compliant disc-at-once premasters of music suitable for professional replication. Perform full PQ code editing, create live-style CDs, add CD text and metadata, and use high-resolution source audio with precise conversion to Red Book audio.
• The élastique time stretch and pitch shift plug-in provides better sounding audio when processing audio files. Users can also monitor and adjust settings while previewing in real-time, and select from various stretching methods that are tailored to their source audio including Pro, Soloist, and Efficient modes.
• The iZotope 64-bit SRC utilizes a hybrid low pass filter design, resulting in pristine audio with less aliasing converting material from one sampling rate to another. The iZotope MBIT+ dither employs psychoacoustic methods to distribute noise into less audible ranges, resulting in improved audio and smoother fades when converting the bit rates of audio files.
• Musical instrument file processing (.DLS, .SF2, .GIG) – Sound Forge Pro 10 software opens, processes, and saves DLS, GigaStudio/GigaSampler, and SoundFont 2.0 musical instrument files. Users can view bank, instrument, note range, and sample information. Effects and processes can easily be added directly to samples.
• Customizable window layouts are designed to maximize productivity by allowing users to create and save multiple unique interface layout configurations for single and dual monitor systems, and recall a window layout for specific editing tasks such as audio editing, CD layout, and multichannel file editing.
• Mastering Effects Bundle 2 powered by iZotope – The powerful bundle of audio mastering tools included with Sound Forge 10 is valued at over $200 and includes six professional plug-ins to expertly master and enhance audio production: Mastering EQ, Mastering Reverb, Multiband Compressor, Mastering Limiter, Stereo Imager, and Harmonic Exciter.
• Interactive tutorials – Sony Creative Software’s unique interactive tutorials provide walkthrough demonstrations of common features and functionality, including DAO CD burning, vinyl recording and restoration in order to help users spend less time learning and more time editing and mastering audio projects.

Price and Availability

The Sound Forge Pro 10 digital audio production software is now available in English and Japanese. The Manufacturer’s Suggested Retail Price (MSRP) for Sound Forge Pro 10 software is U.S. $499.

B. Serrano has released Anubis, a free polyphonic software synthesizer for Windows.

Features:

• 16-notes polyphony
• 2 oscillators with X-Mod and Sync
• Randomizable ADSR
• Graphical modulation envelopes up to 32 stages
• 2 LFOs; host BPM syncable
• 1 multi-mode filter (same as Adonis 2); Randomizable
• 7×7 modulation-matrix
• Vibrato
• Tremolo; host BPM syncable
• Delay
• Chorus
• MIDI learn
• CPU friendly

If you’ve used Anubis, leave a comment with your thoughts!

Akai Professional has announced that the Akai Miniak is now available.

The Miniak combines Akai’s control surface with Alesis’ synth engine.

The Miniak lets you create programs with up to eight multi-timbral voices, each with three oscillators. You can create complex sounds using the Miniak’s two multimode filters, three envelope generators, two LFOs, stereo effects and 40-band vocoder with gooseneck microphone. The MINIAK also has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer and an arpeggiator.

The MINIAK is available from musical instrument and professional audio retailers and has a U.S. Retail Price of $699.00 with an estimated street price of $499.00.

Details below.

If you’ve used the Akai Professional Miniak synthesizer, leave a comment with your thoughts.

Specifications:

Akai MINIAK Features

• 37 key synth-action keyboard with velocity sensitivity
• 8 voices, each with 3 oscillators
• Up to 8 multi-timbral parts with stereo effects and 40-band vocoder
• 2 multi-mode filters, 3 envelope generators, 2 LFOs, sample and hold, tracking generator
• Dynamic real-time and step sequencers, arpeggiator, and drum machine/rhythm sequencer
• Stereo bus effects including reverbs and delays
• 24-bit 1/4 inch balanced stereo analog outputs and inputs
• More than 600 preset sounds
• Sound banks: bass, lead, pad, string, brass, keys, comp, drum, SFX

Under the Hood

A Miniak program is a sound built from the Miniak’s internal oscillators, filters, and envelope generators. The Miniak’s more than 600 preset programs span the range of classic analog synthesis sounds. If you’ve heard it before, you will probably find it in the Miniak’s presets. In a synth, oscillators generate raw sound. Their output is fed into the filters, whose output is fed into the amplifiers. As the signal moves along that path, you can manipulate the mix at several points and apply modulations, envelopes, and effects to create a custom palette of sounds.

Sound Generation

The oscillators can produce different waveform types and shapes to create various harmonic structures, which our ears perceive as different timbres. Here are some of the waveforms you can create with the Miniak’s oscillators:

• Sine: Smooth, pure sound
• Triangle: Fuller than a sine wave
• Sawtooth: Harsh sonic character
• Pulse: Harmonically rich, ranging from full-sounding square wave to a sharp impulse wave

The Miniak’s oscillators can produce continuously variable waveforms, so it can can hit any point between these examples.

You can connect external audio sources, other synthesizers, mixers, guitars, and more, using the 1/4 inch inputs. The jacks accept either balanced or unbalanced cables. You can mix in the external audio sources with the Miniak’s oscillators. The resulting combination is then sent through the Miniak’s filters and effects. A special group of programs including vocoder programs exists just for use with the external inputs.

The outputs of the oscillators, the noise generator, the ring modulator, and the external inputs are fed into a virtual mixing board called the pre-filter mix. From here, the signal hits the filters. For each source, you can specify its level and its balance: how much is sent to Filter 1 and how much is sent to Filter 2.

Filtering
The oscillators produce very raw sounds. To shape and fine-tune the sound, filters give you tools for dampening certain harmonics and boosting others. Filters alter the frequency content of the signal and can have a drastic effect on the sound. Each of the Miniak’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor.

They are:

• Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole
• Band Pass: ob 2-pole, al 6-pole, octave dual, band limit
• High Pass: ob 2-pole, op 4-pole
• Three Vocal Formants, Four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute

After filtering, the signal is fed to the post-filter mix. For each filter output, as well as a pre-filter signal of your choice, you can specify a level and a pan.

Output Processing
In the output stage, the Miniak allows you to apply a drive effect and add some compression, distortion, or other amplification effects. The Miniak allows you to set up twelve modulation routes. Each of these is a virtual connection between some physical or internally generated source and some program parameter. Basically, a mod route tells the synth to automatically grab a knob and tweak it while a note is playing. Although there are quite a few sources that you can use for your mods, the most common ones involve the LFOs and the envelopes.

LFOs
LFO stands for low-frequency oscillator. LFOs are not designed to produce sound, but instead to tweak a program parameter according to a looping pattern. For example, if you are looking to add vibrato, you need the pitch to continuously waver up and down. Each of the Miniak’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync. The Miniak’s LFO can sync to the internal clock or any external source via MIDI.

Envelopes

If you hit a note on a piano, you hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizers model this behavior using ADSR Envelopes. ADSR stands for Attack, Decay, Sustain, and Release, and represents the different stages that the sound goes through over the life of the note. The Miniak also has an envelope that is specifically designed for loudness, called the Amp Envelope. Envelopes are useful in all sorts of mod routes, which is why you can hook up any of the Miniak’s envelopes to any modulatable program parameter. Each of the Miniak’s voices contains three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope.

Sequencing

The Miniak has extensive sequencing and arpeggiation performance capabilities. Arpeggios and sequences both respond to a key-press by playing a series of notes over a programmed rhythmic pattern. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the Miniak will generate a melody by playing each note of your chord individually. A sequence has a melody line built in so you can hold down a single key and the Miniak will play back that melody relative to that key. Pressing another key will transpose the sequence. The Miniak has MPC-style step sequencing and recorder-style dynamic real time phrase sequencing. There’s also a drum machine/rhythm sequencer for the built-in drum sounds.

Effects

The Miniak has a full compliment of stereo effects including Chorus, Feedback, Theta Flanger (Phaser + Flanger), Thru Zero Flanger, Super Phaser, Notch Frequency, String Phaser, 40-Band Vocoder, Analysis Gain, Sibilance Boost, Band Shift, Synthesis Input, Analysis Signal In, Analysis Mix, six types of Delay, and three types of Reverbs.

With the extensive sound generating and manipulating power of the Miniak, the sounds you dream up are as easy to create as twisting a few knobs. And creating complete soundscapes with the sequencer and arpeggiator couldn’t be easier. Create your unique sound with the Akai Miniak.

Remember those classic electronic drum sounds of the 80s?

There’s a good chance that what you remember is the sound of the the Simmons drum synthesizer.

The video above captures some manual tweaking of a Simmons SDS 8 Drum Synthesizer.

If you’ve used the Simmons drum synthesizer, leave a comment with your thoughts!

via DX5:

Just showing what does it can do.

All the channels have the same VCO, so they are basically the same. In preset mode, each channel have different settings for each drum sound. You can put it in manual mode, then you can edit all the parameters. It is what I did.

Apple

Like the new version of Logic Pro Studio, Logic Express 9 adds a variety of features for guitarists and flex time, Apple’s tools for editing the timing and tempo of recorded audio.

Features include:

• More than 70 studio-quality effect plug-ins, including vintage and modern compressors, delays, reverbs, and more;
• New Amp Designer plug-in to help you re-create the sound of 25 legendary amps and 25 speaker cabinets;
• New Pedalboard plug-in with an assortment of 30 virtual stompbox pedals inspired by the classics;
• 36 software instrument plug-ins, including the Ultrabeat drum synth and beatbox, ES2 synth, and EXS24 sampler.

At$199.99, and featuring most of the power of the very competitively priced Logic Pro, Logic Express 9 may be the best deal in entry-level DAWs.

If you’ve used Logic Express 9, leave a comment with your thoughts!

Meatscience

Library Features:

• Free for users of ANY convolution reverb.
• Easy to upload.
• Supports WAVE/AIFF/SDII/FLAC (libsndfile).
• Clean, attractive user interface.
• Onsite playback of convolved IRs.
• Coming soon : Batch upload / 4 Channel Support.

If you’re a convolution reverb users, check it out and leave a comment here on your impressions.

via Rekkerd

DJ Magazine took the Akai Pro MPD32 for a spin.

The MPD32 is a MIDI-over-USB performance pad controller for DJs, programmers, producers, and others musicians.

If you’ve used the Akai Pro MPD32, leave a comment with your thoughts!

Akai Pro MPd32 Features:

• MIDI controller for production and performance
• MPC pads: bank of 16, velocity and pressure-sensitive
• Four selectable pad banks for a total of 64 sounds accessible from the pads
• Eight assignable Q-Link faders, eight assignable Q-Link 360° knobs, and eight assignable Q-Link buttons, all three banks
• MIDI-synced MPC Note Repeat and MPC Swing
• Two assignable footswitch inputs and expression-pedal input
• Dedicated transport controls
• Backlit, easy-to-read display
• MIDI-over-USB or MIDI operation
• USB powered or powered via optional AC adapter
• MPC 16-Level and Full Level
• Comes with custom versions of Ableton Live Lite, FXpansion BFD Lite, and Vyzor Editor Librarian software
• 30 user-definable presets for DAW applications

via AkaiProVideo