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.

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!

Shure SM58 & SM57 mics have a reputation for being reliable to the point of being indestructible. 

Mats Stålbröst, editor of the Stockholm-based Studio, took that as a challenge and subjected a SM58 to a year of sadistic torture.

And here it is in all its awesome glory. 

He used the SM58 mic to hammer nails, dropped it from heights, submerged it in water, drove a car over it and nuked it.

And the thing still worked. 

So they buried it underground for a year.

Here are the results:

Click here to view the embedded video.

It still works – but I’m not using that thing.

You can get SM58’s for $80-90 and they are as indestructible as these video suggests. The SM58 is typically used for vocals because it has a built-in wind screen/pop filter. The SM57 is basically the same mic, but without the wind screen, so it’s more appropriate for instruments. Both are great first mics.

via CDM, SM58 info

Is it worth the nearly six grand asking price?

Levin says:

Overall, I found the Moog Guitar to be an inspirational instrument. It opened up exciting new worlds of playing technique for me like no guitar I’ve ever played. Especially when I used external effects, like distortion, delay, and modulation, I found myself getting lost in the guitar and playing and improvising for long stretches without even realizing that time had passed. It was kind of like discovering a whole new side to my guitar skills.

 

That said, the Moog Guitar is quite expensive and at this point in its development is a luxury item that will be affordable only to some. I hope that in the not-too-distant future, Moog will release a lower-priced line, bringing the Moog Guitar’s exciting combination of sustain, mute, and filter effects to a wider range of potential buyers. I can already tell that I’m going to miss having this guitar around when I have to return it after this review is over. There’s simply nothing else out there like it.

In other words – if you got the 6K to drop, there’s nothing else like it.

Otherwise, you may have to wait for the Behringer version like the rest of us.

Wired.com has a review of the Tonium Pacemaker Portable DJ Machine, and decides it’s cool, but an expensive toy:

The Tonium Pacemaker may be modeled after the idiot-proof iPod, but taking advantage of all the features on the Pacemaker requires an inordinate amount of button pushing. Fiddling around with it while sober requires a certain amount of dexterity — it’s easy to tap the wrong track. Tough to imagine trying to queue up and mix in bar lighting after a few drinks.

Ultimately, it’s a cool toy to play around with but not exactly the life of the party.

WIRED Beautifully engineered; looks like the gorgeous byproduct of a mind-meld between Jonathan Ive and Walter de’Silva. 120 GB memory. Battery holds enough juice for five hours of mix-and-play time.

TIRED Doesn’t act like an iPod. Complicated menu and mixing options make the device not very a practical instrument. $800 could buy you a round-trip ticket to Spain, Berlin or some other hotbed of electronic music.

Have you given the Pacemaker a spin yet? If so, let me know what you think in the comments.

Probably no synth has been cloned more times, both in hardware and software, than the Roland TB303.

But while excellent hardware 303 clones (FR777) have been available for years, virtual versions have never been completely satisfying.

AudioRealism’s BassLine 2 changes that. It cranks out authentic 303 sounds, using a simple interface that will be familiar to 303 users

According to AudioRealism, “analog modeling techniques have been employed to create a DSP-algorithm that accurately emulates every aspect of the original Bass Line, from growling basses to hollow middles and beeping highs with metal rattling accents.”

While that may sound like typical marketing-speak, AudioRealism actually delivers.

Bass Line 2 creates all types of 303 sounds, it has a 303-like interface, it offers working techniques similar to the 303’s and it intelligently expands on the 303’s capabilities.

The only thing you’ll find missing is DIN-SYNC.

Enough blah, blah, blah, though.

Check out the samples below for a taste of what the BassLine 2 sounds like.

Other features:

In addition to the great-sounding 303 emulation, BassLIne 2 has a few other tricks up its sleeve, including:

• Standard or Analog-style tuning
• Three styles of filter: 24dB, 18dB (303) &18dB Pure
• A pattern analyzer that lets you read in audio bassline patterns and convert them to a BassLine 2 sequence.
• A massive pattern library

My favorite extra is the Random function, which offers several options for randomizing your sequences. Hit the Random options a couple of times and you’re sure to come up with something strange.

If I could change anything on the Bass Line 2, it would be to provide more options for taking the synths’ sounds beyond the capabilities of the original TB303. For example – it would be nice to have the option to increase the range for the filter cutoff, or to have other types of distortion.

In other words, I’d like to see AudioRealism worry less about making this a faithful recreation of the 303, and more about making it an Uber-303.

That said – AudioRealism promises a faithful 303 emulation, and it delivers. This is the best virtual TB303 yet.

It’s available for 95 Eur, for Windows and Mac, VST & AU.

The Big Reason is a gargantuan package of over 6500 samples – over 4Gb of material. The collection is programmed for Propellerhead’s Reason as REX2, NN-19, NN-XT, Re-Drum, Malstrom, Subtractor and WAV files. The result is a massive set of beats, pads, synths, leads, guitars, effects and more.

The content covers a lot of territory, ranging from funk to trance to bizarro. It’s broken down into seven libraries:

• Binary Finary – a dance music library from gurus of trance.
• Chemical Comedown – pads, fx and soundscapes
• G-Funk Era – a collection of dancefloor funk
• Guitar Lab – electric & acoustic guitar licks, riffs, notes and chord patterns
• Organic Chemistry – other-worldly sounds
• Percolated Beats – live drumloops from top urban music session drummer Richie Spaven
• Planet Bliss Loops – 700 beats suitable for all kinds of dance music

We’ve reviewed several previous Zero-G releases, and they’ve always delivered great sounding samples with obsessive-compulsive attention to detail. The Big Reason is no different.

While the library is huge, each section offers an interesting selection of sounds, beats and effects. The Binary Finary library is a standout – it’s classic trance distilled. G-Funk Era is another great libary, and offers an alternative to getting sued for sampling old funk tracks. I also really like the Organic Chemistry libray, which explores weird soundscapes and effects that weould be at home in ambient tracks or glitchtronica.

You can preview a few demo tracks using these libraries below. More demos are available at the Zero-G site.

The only caveat I have about the collection is that the seven libraries are not very closely related. If you’re just interested in funk samples, for example, the trance library could be filler to you.

All in all, The Big Reason is a massive, well-produced collection of content for Reason users. At $129, it’s fairly priced, especially if you’re interested in a collection with a lot of variety.

Contents:

• 4.2Gb of samples
• over 3300 Rex2 Files
• over 3300 Wav Files
• 520 NN-XT Patches
• 490 NN-19 Patches
• 57 ReDrum Kits
• 50 Malstrom Patches
• 47 Subtractor Patches

There are thousands of amps available for musicians to choose from, so it takes something unique to make one stand out. The ThinAmp does just that, by combining a powerful set of effects with one of the most portable amps ever designed.

Comparing it to other amps is difficult. It doesn’t have the body or volume of a full-size amp, or even many portable amps. It’s digital effects are useful, but are not state-of-the-art.

But try and fit any other amp in a laptop bag, and you’ll see that the ThinAmp offers its own unique benefits.

Design

The ThinAmp is remarkably portable. At first glance, it looks a bit like a thick laptop computer. In fact, the ThinAmp comes with a carrying case that’s the size of a laptop computer bag.

While AXL, the makers of the ThinAmp, is targeting it towards guitarists, its size should make it worth consideration by any musician interested in an extremely portable amp. Laptop DJs and producers could pop the ThinAmp and a laptop in one bag, and have a seriously loud portable studio!

The ThinAmp has legs that pop out on the back, so that it can stand up at a convenient angle when in use, and fold down for storage. The case is rugged plastic with a metal front grill and faceplate. It seems rugged enough to stand up to normal abuse.

Controls (left to right):

• Power
• DSP Preset Group – selects from four families of effects
• Reverb & Effects levels – adjusts reverb & effects mixes from “dry” to “wet”
• Volume, Gain & Tone levels – standard to most amps
• Four effects knobs – select between four options for each family of effect
• Digital Delay – Level and Time adjustments
• Input & Rec/Phones output – Plugging into this jack disables speaker. This can be used for phones, or to patch the ThinAmp into a mixer or recording device.
• There’s also a tiny panel that hides Aux In & Aux Out conections. You can use this to connect additional devices, like a CD player to practice with.

The knobs and switches are compact, and not very deep. This keeps the ThinAmp thin, and reduces the likelihood that the knobs will get knocked off or broken with use.

AXL nicely includes a laptop-style carrying case and a car adapter. This makes the ThinAmp into an all-around solution for players looking for a very portable amp.

Power connects on the right-hand side and a wall-wart is provided.

Using the ThinAmp

The ThinAmp is fairly easy to use. Just plug in a guitar or other device, adjust the levels and you’re ready to rock.

The effects provided are basic, but useful, and provide a good variety of sounds. By using the Gain & Tone controls along with the effects, many different sound options are available.

We found the effects controls a little confusing at first, because you use one knob to select the DSP Preset Group (Ambience, Vibrato, Flanger & Chorus), one of four knobs to select the specific effect within the DSP Group, and then two knobs to control the effects mix. This could be made easier if the the DSP Preset Group knob was labelled with the effects group name (ie, Ambience) instead of a letter. It might be easier still to just use a 16-position switch to select from the various options.

We tried the ThinAmp with guitar, bassline synth, and laptop. The effects are tailored for guitars, and work well for that. AXL provides suggested settings for various effects in the manual that should help get guitarists off in the right direction.

We also tried the ThinAmp with a bassline synth and laptop. For bass synth use, the effects aren’t as aggressive as we’d like. It’s not surprising, though, since most ThinAmp buyers are likely to be guitarists, playing chords instead of one note.

For laptop use, we found it very useful with the ThinAmp internal effects set to dry. Then we could control everything from the laptop itself. The sound levels and quality blew away the tinny laptop speakers!

The ThinAmp provides 10 W of power. This is enough to be loud, even painfully loud close up. You shouldn’t expect to rock the house with an amp that’s 2″ thick, though. The sound of the ThinAmp reflects its size, strongest in the midrange, and weaker in the bass.

Summary

The ThinAmp is a unique type of amp, designed to be a complete portable amp solution. It’s difficult to compare it do other amps and devices, because design decisions obviously had to be made to make it so portable. Because of this, we recommend that interested buyers look at the ThinAmp as an extremely portable amp, instead of trying to compare it to traditional amps. Considered like this, the ThinAmp has little competition.

The Thin amp comes with a nylon carryng case and a car adapter. An optional battery pack is avaiable that lasts up to 3 hours.

Features:

• Portable, Convenient Size (Only 2″ Thick!)
• 16 DSP Multi-Effect Settings
• Easy-to-Use Analog Controls
• Lightweight ABS Shell
• Built-In Tilt Back Leg System
• Multi-Function Inputs & Outputs
• Includes Padded Carrying Bag
• Includes Power & Car Adapter
• Rechargeable Battery Pack (Optional)

Specifications:

Power Sources:

• External Universal 12VDC Adapter
• Car Cigarette Adapter
• External Rechargeable 12V Battery (optional)

Power Indicator: Blue Diffused LED

Output Power: 10W

Speakers: 2 x 4” Speakers

Rated Load Impedance:

EQ Section: Bass (100Hz) +/- 3dB

Middle (1KHz) -15dB / +3dB

Treble (10KHz) -14dB / +5dB

Effects Characteristics:

Digital Audio Effects (16 Presets separated into 4 groups. Effect Level is variable.):

1. Chorus with 4 various speeds and Depth
2. Flanger with 4 various speeds and Depth
3. Vibrato with 4 various speeds
4. Ambience (4 Types):

Digital Surround/Delay:

1. (THD<0.5%), (<-90dBV) noise voltage
2. Adjustable delay time range from 31ms up to 342ms.

Frequency Response: 50Hz~22KHz

Input Jack: 1/4” Phone Jack

REC/Phones: 1/4” Stereo Jack

AUX In/Out: Hidden RCA Jacks for input & output signals

Reverb: Digital (Reverb Level is variable.)

Cabinet Tilt Level: 45º angle with respect to the vertical direction.

Dimensions: 13” (330mm) W x 10.5” (267mm) H x 2.2” (54mm) D

Weight: 5.35lbs. / 2.43Kg

Until recently, though, Behringer did not have much of a presence in the area of MIDI and computer music. Mackie, Encore Electronics, Novation and other companies had introduced specialized controllers & brought hands-on control to MIDI and computer music.

Behringer must have seen the writing on the wall, because they have released three new B-Control devices with capabilities and pricing that positions them as a price/performance leader. The devices are: the BCF2000, a MIDI controller with motorized faders; the BCR2000, a MIDI controller with dozens of rotary controls; and the BCA2000, a multi-channel Audio/MIDI control interface.

Each of the units in the B-Control series has a different primary purpose. The BCF features faders; the BCR features rotary controls; and the BCA features an audio interface.

The units share a consistent design & size, and together make an impressive control center. Multiple units can be interconnected and share a single USB port, making them modular building blocks for the virtual studio. Each B-Control is well spec’d out, but most impressive is the units pricing. Behringer again has pushed the envelope, pricing B-Control’s hundreds of dollars below their competition.

This review takes a look at the BCF2000, which is a USB MIDI control surface with eight motorized faders, eight rotary controllers and a complement of switches. It’s a very inexpensive way to control virtual gear, and is compatible with Cubase, Cakewalk Sonar, Logic Audio and other major music applications. It can also be connected directly to hardware gear, offering flexible hands-on control.

At just over $200 street price, how good can the BCF2000 be?

The BCF2000

The standout feature of the BCF2000 is the moving faders. In addition, the BCF2000 has eight rotary encoders that double as push-button switches and a double row of push-buttons switches. A four-digit LED display shows the current values of controls and other messages, and there is a set of configurable switches along the right-hand side.

When powered on, the BCF2000 makes an impressive display. Each of the rotary encoders is ringed by a set of LEDs that indicate the current position of the controls, and the moving faders come to life.

The eight knobs across the top are endless rotary encoders. Their position is virtual and indicated by the LEDs that encircle each encoder as shown above. This helps eliminate the issue of knobs not matching virtual knobs on-screen. When you switch between banks of controls, the lights change to represent the current values of the controls.

The eight encoders have another function that’s not immediately obvious – they double as push-button switches! This is a great feature, because it gives you twice the number of controls without requiring additional space.

The four-digit display shows the value of the parameter that’s being edited, and is also used when assigning MIDI functions to the controllers. The display is rudimentary, and four digits mean that some messages can be cryptic. On the positive side, all the LEDs light the BCF up like a Christmas tree, making it very cool visually and usable in all types of light conditions.

Around the back, the BCF2000 has three MIDI connections, a USB connection, jacks for footswitches and variable pedals and power.

The BCF has a very good collection of controls. The biggest selling point of the BCF, though, is the moving faders. It’s fun to watch the faders jump into position, and moving faders help ensure that the position of the controls will represent the value of the software that you’re controlling.

It’s worth noting that the motors on the faders are fairly loud, so if you want to record in the same room as your computer, the BCR2000, Behringer’s rotary knob controller, may make more sense for you.

Overall, the construction of the BCF is solid. They should stand up to normal abuse with no problem.

In Use

The BCF is easy to hook up to a computer or other hardware. A USB cable is provided, and current drivers can be downloaded from the Behringer site. The controller has three MIDI connections, which can be used to connect MIDI devices to your computer or to control MIDI equipment directly. MIDI cables are not included.

The BCF has seven options for how it operates. There are four USB Modes and three Standalone Modes. This seems a little confusing at first, but the manual has excellent illustrations that show how each Mode is used.

The various Modes control how the MIDI connections work, so just about any MIDI configuration that you may need is possible. It can be used as a USB MIDI interface, with either one or two MIDI outputs. It can also be used as a standalone device, where the MIDI connections are changed directly by the BCF’s controls.

One MIDI connection can also be used to connect multiple B-control units together. When configured like this, the slave controller sends its signals to the master controller, and the master controller connects to the computer via USB. If you want to have 16 moving faders, you could get two BCFs and connect them together!

The BCF2000 proved easy to use and a powerful tool. The knobs are well spaced, the controls seem solid, the faders jump into place impressively and the dozens of LEDs provide good visual feedback.

We tested the BCF with several hardware and software synths, and were impressed by its options. The B-Controls let you get up and running quickly, but offer enough power to provide room for growth. Presets are provided for popular software, and more are available at the Behringer site.

The biggest problem we encountered with the B-Controls was simple confusion – with all the switches, faders and knobs, and multiple presets, it’s easy to lose track of what a particular control does. This really isn’t an issue with the B-Controls, though, but more a side effect of the complexity that accompanies a powerful tool like this. Behringer does provide white strips by each control that can be used to label their function. While it’s a nice feature, it doesn’t help people that use multiple presets.

In practice, most users will probably use only a few presets, and the layout of the controls should become second nature with use.

Documentation & Programming

Many users will stick to the presets that are provided, or use the MIDI learn function of their software to map controls. However, the B-Controls lets you change the function of nearly all the switches, knobs and sliders to customize the controller to your needs.

B-Control owners will want to check out the Behringer site, which features the latest version of the B-Edit software, updated drivers, firmware updates, presets and additional documentation. There is a Behringer B-Control Programming Guide, which is very useful for getting started with creating presets. There are presets available for Native Instrument’s B4, Pro 53, Spektral Delay & Xpress Keyboards; multiple Reason presets; setups for Cubase, Logic, Sonar; and for Steinberg Groove Agent and Halion.

Programming the controller will require referring to the documentation. The manual is well-written and illustrated. Nevertheless, MIDI is fairly complex, and creating a custom setup for the B-Controls will require a bit of head-scratching. Controls can be assigned to just about any MIDI function, including MIDI notes, performance continuous controls, NRPNs and even SysEx strings.

To simplify this, Behringer offers B-Control Edit, a Java-based editor/librarian for creating presets. Because the editor is written in Java, it should run on any platform that supports Java. Writing this in Java makes sense. While Java applications typically aren’t quite as fast as programs compiled for a specific computing platform, they should be easier to maintain and offer cross-platform compatibility.

Overall, the BCF documentation is good. The User’s Manual packs a lot of information into 20 pages.

Behringer may miss out on some business, though, because potential users may not even know that what a tool like the BCF can do. It would be great if Behringer provided a document that walked users through setting up some common MIDI configurations, with examples of configuring a B-Control to work with older keyboards, samplers and even drum machines.

If you have a synth that doesn’t have many knobs on it, a B-Control could dramatically simplify programming and performance. A B-Control could also be integrated into a hardware or software performance setup, triggering samples or sequences, adjusting levels and controlling effects. Including more and better examples of how a setup like this can be configured would be helpful.

Summary

The B-Control family puts Behringer firmly into the MIDI/computer music business. The Behringer BCF2000 offers a compelling array of switches, faders and knobs, can be configured to work in almost any MIDI/computer music setup, and does it very inexpensively. At their prices, the B-Controls put hardware MIDI control within reach of most musicians.

In short, we’re impressed. Given the value that Behringer is offering, we expect the BCF2000 to be popular, and expect more B-Controls to come. We’d love to see Behringer expand the line to include a dedicated mixer/DAW controller, and a keyboard/synth controller with knobs for the most common functions, plus a set of assignable knobs.

If you’re looking for hardware controller for computer music or MIDI gear, the B-Controls should be on your short list. And if you’re still using a mouse to control your music software, it’s time to start asking “Why?”

Behringer

The devices are: the BCF2000, a MIDI controller with motorized faders; the BCR2000, a MIDI controller with dozens of rotary controls; and the BCA2000, a multi-channel Audio/MIDI control interface. Each of the units in the B-Control series has a different primary purpose. The BCF features faders; the BCR features rotary controls; and the BCA features an audio interface.

The units share a consistent design & size, and together make an impressive control center. Multiple units can be interconnected and share a single USB port, making them modular building blocks for the virtual studio. Each B-Control is well spec’d out, but most impressive is the units’ pricing. Behringer again has pushed the envelope, pricing the B-Control’s hundreds of dollars below their competition.

This review takes a look at the BCR2000, a USB MIDI control surface with three banks of eight rotary encoders, eight rotary switch/controllers and a complement of buttons. It’s a very inexpensive way to control virtual gear, and is compatible with Cubase, Cakewalk Sonar, Logic Audio and other major music applications. It can also be connected directly to hardware gear, making it ideal for adding knobs wherever they are needed in your studio.

The BCR2000

Each member of the B-Control shares many traits, including size and shape, construction and documentation. The BCR is all about rotary encoders. This member of the B-Control family has twenty-four rotary encoders, and eight more across the top that are combination rotary encoders/pushbuttons. This is a great feature, because it gives you twice the number of controls without requiring additional space.

As you can see from the photo, the BCR lights up like a Christmas tree. Hundreds of LEDs provide excellent visual feedback, so it’s easy to tell what your current settings are. The controllers are continuous, so the lights let you know the current “position” of each knob.

In addition to the full complement of knobs, the BCR2000 has a double row of push-buttons switches along the top. A four-digit LED display in the upper right shows the current values of controls and other messages, and there is a set of configurable switches along the right-hand side.

The four-digit display shows the value of the parameter that’s being edited, and is also used when assigning MIDI functions to the controllers. Like the other lights on the BCR, it uses an LED, which makes it bright and readable in all sorts of lighting. The four digits mean that some messages can be cryptic, though.

Around the back, the BCR2000 has three MIDI connections, a USB connection, two jacks for footswitches and power.

Overall, the construction of the BCR is solid, and should hold up to normal use/abuse.

In Use

The BCR is easy to hook up to a computer or other hardware. A USB cable is provided, and current drivers can be downloaded from the Behringer site. The controller has three MIDI connections, which can be used to connect MIDI devices to your computer or to control MIDI equipment directly. MIDI cables are not included.

The BCR2000 has seven options for how it operates. There are four USB Modes and three Standalone Modes. This seems a little confusing at first, but the manual has excellent illustrations that show how each Mode is used.

The various Modes control how the MIDI connections work, so just about any MIDI configuration that you may need is possible. The BCR2000 can be used as a USB MIDI interface, with either one or two MIDI outputs. It can also be used as a standalone device, where the MIDI connections are changed directly by the BCR’s controls.

One MIDI connection can also be used to connect multiple B-control units together. When configured like this, the slave controller sends its signals to the master controller, and the master controller connects to the computer via USB. This means that you can hook several B-Controls together to make a custom mega-control unit!

The BCR is easy to use, and provides a wealth of knobs and controls. The knobs are well spaced, the controls seem solid and the dozens of LEDs provide good visual feedback. We tested the BCR with several hardware and software synths, and were impressed by its options. The B-Controls let you get up and running quickly, but offer enough power to provide room for growth. Presets are provided for popular software, and more are available at the Behringer site.

The only significant problem that we encountered with the BCR was confusion. With all the switches and knobs, and multiple presets, it’s easy to lose track of what a particular control does. This seems to be more of an issue with the BCR2000 than the BCF2000 Fader Controller, simply because the rotary controller has so many knobs.

This really isn’t an problem with the B-Controls, though, as much as a side effect of the complexity that accompanies a powerful tool like this. Behringer does provide white strips by each control that can be used to label their function. While it’s a nice feature, it doesn’t help people that use multiple presets.

In practice, most users will probably use only a few presets, and the layout of the controls should become second nature with use.

Documentation & Programming

Many users will stick to the presets that are provided, or use the MIDI learn function of their software to map controls to function. However, the B-Controls lets you change the function of nearly all the switches and knobs, to customize the controller to your needs.

B-Control owners will want to check out the Behringer site, which features the latest version of the B-Edit software, updated drivers, firmware updates, presets and additional documentation. There is also a Behringer B-Control Programming Guide, which is very useful for getting started with creating presets. There are presets available for Native Instrument’s B4, Pro 53, Spektral Delay & Xpress Keyboards; multiple Reason presets; setups for Cubase, Logic, Sonar; and for Steinberg Groove Agent and Halion.

Programming the controller will require referring to the documentation. The manual is well-written and illustrated. Nevertheless, MIDI is fairly complex, and creating a custom setup for the B-Controls will require a bit of head-scratching. Controls can be assigned to just about any MIDI function, including MIDI notes, performance continuous controls, NRPNs and even SysEx strings.

To simplify this, Behringer offers B-Control Edit, a Java-based editor/librarian for creating presets. Because the editor is written in Java, it should run on any platform that supports Java.

Writing this in Java makes sense. While Java applications typically aren’t quite as fast as programs compiled for a specific computing platform, they should be easier to maintain and use on multiple platforms.

Overall, the BCR documentation is very good. The User’s Manual packs a lot of information into 20 pages.

It would be great, though, if Behringer provided a document that walked users through setting up some common MIDI configurations, with examples of configuring a B-Control to work with older keyboards, samplers and even drum machines. Including more and better examples of how a setup like this can be configured would be useful, and would help users and potential users find more ways to use the B-Controls.

Summary

The B-Control family puts Behringer firmly into the MIDI/computer music business. The Behringer BCR2000 offers thirty-two rotary encoders and an array of switches that can be configured to work in almost any MIDI/computer music setup, and does it very inexpensively. At their prices, the B-Controls put hardware MIDI control within reach of most musicians.

In short, we’re impressed. Given the value that Behringer is offering, we expect the BCR2000 to be popular, and expect more B-Controls to come. We’d love to see Behringer expand the line to include a dedicated mixer/DAW controller, and a keyboard/synth controller with knobs for the most common functions, plus a set of assignable knobs.

If you’re looking for hardware controller for computer music or MIDI gear, the B-Controls should be on your short list. And if you’re still using a mouse to control your music software, it’s time to start asking “Why?”

Bixonic

The Expandora has more going for it than a great name. It’s established a reputation as a great source for a variety of distorted sounds. It’s been used by Bush, Megadeth, ZZ Top, Bootsy Collins and other artists.

The EXP-2000R retains the look of earlier versions, but improves on them by bringing to the front dip-switches that were previously inside the case. It also adds a switch to toggle between Bass and Guitar settings. As a result, the Expandora is like having eight distortion pedals combined into one.

Construction/Design

The Expandora is housed in a brushed aluminum housing. Some players may not like its “tuna can” design, but it’s a refreshing alternative to the standard pedal block.

The case feels solid and substantial. The overall build quality appears to be very good.

The Expandora runs off a battery or a 9V DC power supply (not included). To change batteries, you have to remove one screw on the back.

The front face has three sets of controls:

• Dip-switches that determine change the actual distortion circuit;
• Gain, Tone and Level knobs to adjust levels; and
• A bypass foot-switch.

All the controls feel solid and operate smoothly. The dip-switches are small enough that you won’t accidentally bump them, but not so small as to be fiddly.

The Expandora has a completely smooth metal bottom. Bixonic includes 4 adhesive circles that can be applied to the bottom of the case to help keep the Expandora in place. Depending on your playing style, you may need to secure the pedal to keep it from sliding.

Sound

The Expandora delivers a wider range of sounds than most distortion pedals. The dip switches let you switch between eight different circuit configurations. The first two dip-switches control the basic drive structure, and have four options: Crunch, Overdrive, Distortion, and Forbidden. A third dip-switch adjusts the overall tone of the Expandora for guitar or bass. The result of these unassuming dip-switches is that you can instantly change the overall sound of the Expandora dramatically.

The three pot knobs give you complete control of the pedal’s sound. The first knob controls the Gain of the input, along with the distortion. The second knob adjusts a high-frequency filter, which lets you control the brightness of the output. The final knob controls the level of the output.

With guitar, the Expandora sounds great, capable of excellent blues, rock and metal sounds. We couldn’t resist going straight to the “Forbidden” settings. According to Bixonic’s documentation, Forbidden mode “inflicts unacceptably hysteric sound onto your audience.” They aren’t exaggerating. Sick!

Since this is Synthtopia, we had to see what sort of twisted results we could get using the Expandora on other gear. We tested it with a Future Retro 777, one of the ultimate bass-line synths, and with a cheap drum machine, the Korg ER-1.

The 777 is modeled on the most important synth in techno, the Roland TB-303. Running the 777 through the Expandora added a whole new range of sounds, many of them sick and wrong. The Bass dip-switch option works well with techno sounds.

The ER-1 is an analog-modeling drum machine has a great variety of analog-style sounds. Unfortunately, its built-in distortion effect is lame, with no control over distortion level. We tacked the Expandora on the output, and found that it could warm up the sounds a little, or turn the clean output of the ER-1 into industrial noise. We don’t know how many musicians will want to abuse their equipment like this, but it did demonstrate the Expandora’s flexibility.

The Expandora will appeal to players that want a variety of analog distortion effects. If you tend to always use the same sound, a less-capable pedal will probably meet your needs.

At high gain levels, the Expandora circuits adds noise to the output. This was most noticeable on the Forbidden setting. The noise levels are not unusual for a distortion circuit, though, and can be eliminated with a noise gate if objectionable.

Summary

The Bixonic Expandora is a solid, well-crafted distortion pedal, capable of a very wide range of effects. Guitarist looking for a distortion pedal should put it on their short list. The range of circuit configurations possible through the dip-switch settings makes the Expandora very useful with other instruments, too, especially bass and bass-line synth.

The PCR1 is designed to be very lightweight, and features a supermodel-thin profile. It includes a basic set of MIDI controllers, standard-width piano keys and audio I/O.

With the PCR1, Edirol has focused on satisfying the most common needs of a mobile computer-based musician, providing controls for playing sounds, modifying settings and getting sound in and out of the computer.

The PCR1

Edirol has put a lot of thought into portability with the PCR-1, and it shows. It’s amazingly small and lightweight, but has keys and knobs that won’t cramp your hands.

Several features of the PCR1 are unique. The keyboard is shallow, about half the depth of standard piano keys. Edirol refers to this as Short-stroke Low-profile Impact Mechanism (SLIM), which makes it sound rather official. In reality, the keys are just not as tall as regular keys, reducing the overall height of the keyboard significantly. It’s important to note that the keys are the standard width and depth, unlike controllers like Korg’s MicroKontrol. This makes it easier to play for musicians used to standard keyboards.

In addition to the SLIM keyboard, Edirol provides a good selection of knobs and buttons. These are also optimized for portability. For example, the knobs are inset slightly into the controller, and are not as tall as typical controller knobs. This, combined with the SLIM keys, helps keep the overall height of the controller to just over 1 inch!

The knobs have a solid feel to them, and the spacing and positioning seems to be ideal. Eight knob controllers are provided along the top, and these can be used in combination with the Shift key to double the number available. A dedicated volume knob is also provided, something missing on many control keyboards.

The three-digit LED readout is no-frills, but is readable in rooms dark and bright. Its position, right in the center, is good, because your hands won’t obscure it when you’re using the controllers.

Some pianists may be frustrated by the SLIM action. Because the PCR1’s keys only travel about half the range of traditional keys, it is harder to control velocity when you play. This means that it’s tougher to control the volume of your playing in an expressive fashion with the PCR1 than with full-depth keyboards. This was mainly noticeable when using the PCR1 to control traditional sounds, like piano.

If there’s one place that Edirol’s optimization for portability feels like a real compromise, it’s the Pitch and Mod controllers. Instead of the wheels that you find on most controllers, the PCR1 uses a thin metal bar for the Mod control, and a toggle button for the Pitch controller.

These buttons work like switches, turning pitch-bend or modulation on and off. Unfortunately, they don’t offer any subtlety of control or gradation. For the Jan Hammers of this world, the PCR1’s Pitch and Mod controls will feel kludgy. For players that only make occasional use of them, they get the job done. It would be great to see a pressure-sensitive ribbon controller, like that found on Kurzweil keyboards, on the PCR1. That would offer better control, but keep the size down.

Bottom line? The PCR1 is optimized for portability, rather than playability, so users should compare the PCR1’s action and features to other portable computer music keyboard controllers, rather than traditional keyboards. Compared to other portable controllers, the PCR1 offers excellent portability while retaining the most important features of larger, heavier controllers.

In addition to the keyboard controller, Edirol provides sets of plastic overlays that can be used to label the controls. A printed set of overlays is provided for controlling GM2 synths. The second set has blank fields that can be filled in with an erasable marker. It would have been better to provide two blank sets; few users will use the GM2 set, and what’s the point of labeling on removable overlays, if you don’t have other overlays to put on?

Edirol also provides a gig-bag for the PCR1. This is a nice touch, and should meet the needs of users that want to keep their controller from getting crusty in the back of their car. For tougher travel, a heavy-duty bag would be recommended.

Connections

Edirol has kept the PCR1 simple and portable by limiting the connection options. It has stereo analog RCA inputs and outputs, a headphone output and a USB connection. Interestingly, the headphone jack doubles as a digital output jack. The connections provided give you everything you need to record and play back audio, play virtual instruments and control software settings, while keeping the weight down by leaving out more esoteric options.

The PCR1 gets its power from the host computer, eliminating the need for power cables or wall-warts. This, combined with its light weight and portability, mean that you can use it to make music anywhere you can take a laptop.

The audio I/O is through RCA connectors, so you may need adapters for some uses. The 24-bit/96kHz audio interface compares favorably to most typical sound cards, but is not a replacement for a dedicated audio interface. The interface is designed for line-levels, so if you want to record from mics or bass/guitar, you’ll need additional gear. The audio interface should be very handy for mobile users that want to get sound into the computer, but don’t want to lug around more gear.

Testing

Edirol supplies drivers to ensure compatibility with the most common operating systems, even going back to Mac OS 9 and Windows 98! We tested the PCR1 on Mac OS X and Windows 2000. We had no problems getting either system to recognize the device. The PCR1 worked well with all the virtual instruments we tested it with.

The PCR1 is flexible when it comes to MIDI control. Templates are provided for some of the most popular music applications, including Sonar, Pro Tools and Cubase.

You can also create and store custom settings for other MIDI programs. Programming MIDI controllers can be a little confusing, but the manual does a good job of laying out the process. Most users will probably use MIDI Learn within their application, but it’s good to know that the PCR1 gives you complete flexibility in assigning controls to each knob, in case you need this.

It’s easy to get up and running with the PCR1, but consulting the manual is needed to take advantage of its advanced features. Edirol provides an excellent 126-page manual that is profusely illustrated, well-written and explains everything you need to know.

Edirol also provides software for editing PCR1 configurations. The utility lets you assign MIDI controls to a graphic representation of the controller and then transfer the settings to the PCR1. For users that prefer to make assignment changes on their controller, this will come in handy.

We encountered no bugs or quirks when using the PCR1.

Summary

The PCR1 USB Audio Interface and MIDI Keyboard Controller is one of a new breed of controllers designed for mobile computer music making. The PCR1 is inexpensive, yet it offers everything musicians typically need for mobile music making. In addition to being a capable MIDI controller, the PCR1 adds a useful audio interface and a headphone jack.

Edirol has done an excellent job of considering the needs of laptop musicians. Because the PCR1 is optimized for portability, it should be compared to other mobile keyboard controllers, rather than traditional master keyboard controllers. The PCR1 is ideal for musicians, dj’s and other users that want a portable controller to use with virtual synths and sequencers.

Features

• Compact and light-weight design
• 25 full-width, velocity-sensitive keys
• 25 assignable controllers
• 16 control-map locations
• 24-bit/96kHz RCA input & outputs
• USB Buss-Powered
• 1/8″ Headphone/ S/P DIF Optical output

Specifications

Audio Record & Playback Channels

• Record: 1 pair of stereo
• Playback: 1 pair of stereo
• Full duplex (except for 96 kHz setting)

Signal Processing

• AD/DA Conversion: 24 bits
• PC interface: 24 bits

Sampling Rate

• 44.1/48/96 kHz

Nominal Input Level

• -10 dBu

Input Impedance

• 27 k ohms

Nominal Output Level

• -10 dBu

Output Impedance

• 1 k ohms

Connectors

• USB connector:Type B
• Line Input jacks (L, R): RCA phono type
• Line Output jacks (L, R): RCA phono type
• Headphones jack: Stereo miniature phone type
• Digital Output connector: Optical type

Keyboard

• 25 Keys (with velocity)

Controllers

• Master Volume Knob
• Memory Button
• MIDI Channel Button
• Shift Button
• Octave Shift Buttons (+/-)
• Transpose Button
• Assignable Buttons (B1–6)
• Pitch Bend Switch
• Modulation Switch
• Assignable Rotary Volume Knobs (R1–8)

Display

• 7 segments, 3 characters (LED)

Rear Panel

• Input Level Knob
• Power Supply
• USB Bus Power

Current Draw

• 400 mA

Dimensions

• 450(W) x 220(D) x 28(H) mm
• 17-3/4 (W) x 8-11/16 (D) x 1-1/8 (H) inches

Weight

• 1.5 kg / 3 lbs 5 oz

Accessories

• CD-ROM
• USB Cable
• Owner’s Manual
• Template Sheets (GM2, BLANK)

System Requirements

Macintosh

• Operating System: MacOS 9.x, and OS X
• Computer: USB ready Apple Macintosh
• CPU/clock: PowerPC G3/233 MHz or higher
• Memory (RAM): 64 MB or more
• OMS 2.3.3 or later. FreeMIDI 1.35 or later
• For MacOS 8.5, 8.6, 9.x. Plug and play on MacOS X.

Windows

• Operating System: Microsoft Windows Me/98/98SE/2000/XP
• Computer: Windows compatible equipped with a USB port *
• CPU/clock: CPU/clock: Intel Pentium Cerelon or Intel compatible Processor/600 MHz or higher
• Memory (RAM): 64 MB or more
• USB Chipset: Intel’s USB chipset is recommended

* Must have a compatible USB host controller.

It follows in the footsteps of other Roland/Boss samplers, like the SP-505. It boasts excellent sample tools, long sampling times, CompactFlash support, sample-chopping and automatic-tempo matching; great real-time controls, 16 sample pads, digital and audio in and out, and a MIDI interface, all for a reasonable price.

The SP-606’s broad capabilities mean that it can play many roles, in both studio work and performance. While many users may look at the 606 as a drum machine or sampler, it’s much more capable, and should provide enough flexibility to adapt as users’ requirements become more demanding.

Features

• 16 velocity-sensitive pads make it easy to enter rhythms or trigger audio
• Extensive collection of effects, including built-in mastering capabilities
• D-Beam controller can be used to filter audio, trigger samples, or to control a virtual synth
• CompactFlash memory support (up to 512MB capacity) allows storing audio samples and import/export of .wav/.aiff files.
• 4-track sequencer with up to 18,000 notes capacity, MIDI sequencing and BPM sync for audio phrase time stretching.
• Comes with P606 software from Cakewalk, delivering extra power for PC users.

Overview

The SP-606 is a portable multi-function device that can be used in many music production and performance roles. It includes a matrix of 4 x 4 velocity-sensitive pads; a four-track recorder; built-in effects and mastering processing; a flexible D-Beam controller; digital and analog audio in and outs; and USB connectivity for PC and Mac connectivity. It can be used as a drum machine, a sampling workstation, a USB audio/MIDI interface, an audio sequencer, and a hardware controller.

The unit ships loaded with banks of percussion sounds targeted for to the hip hop and dance markets, but the 606 could be used for any type of music. In addition to the provided sounds, the unit comes with Cakewalk’s P606 groove-generating software, which can be used to create percussion and synth loops to use with the SP-606.

Roland has given the SP-606 a generous supply of controls, and a flexible set of interface options.

The front face is packed with knobs, buttons and rubbery, illuminated pads. A big LCD screen is easy to read and simplifies navigating the 606’s menus. The data-entry wheel makes it easy to scroll through long lists of samples or presets. The D-Beam is positioned to the extreme upper left, so won’t be in the way of any other operations. This avoids the possibility of mistakenly triggering it. Three switches are provided to select from the D-Beam’s settings, which lets you toggle through its functions instantly.

The Effects area lets you switch the two built-in effects engines on and off and helps you quickly make setting changes. There are three knobs that control effects settings. The Sequencer section features straightforward buttons to enable or disable each of the units 4 tracks, and for functions like stop, play and record.

Best of all are the 16 illuminated touch-sensitive pads, which make it easy to build grooves with feel. The pads can be set to several modes, letting you trigger samples or use them to turn loops off and on.

The D-Beam controller is showing up on more and more of Roland’s equipment, and it’s a welcome addition. It senses the proximity of your hand, a little like a theremin. The D-Beam can be set to trigger a sample, toggle a loop off and on, control a dedicated output filter, or vary the pitch and gate of a basic virtual synth voice. The D-Beam is fun to use and is very interesting visually, making it ideal for live performance. When using it to control the synth voice, you can limit the range and scale of the synth voice, making it easier to get musical results. The synth voice is not very flexible, but can be routed through the built-in effects to add interest.

On the back of the unit, the SP-606 has all the connections you need for most situations. There’s a power connector and switch for the ubiquitous but annoying wall-wart. A USB connector is included, for hooking the 606 to a PC or Mac. In addition, it has MIDI and Digital In/Out. 1/4″ jacks are provided for getting stereo Audio Input and Output, Phones and a Foot Switch.

The construction of the SP-606 is solid, but not as tough as many performance-oriented devices. This should not be any problem for studio work, but users that plan on moving it frequently and using it for performance will want to invest in a good case to protect it.

Getting Started

To get started with the SP-606, all you have to do is plug in a pair of phones or hook the Audio Output into a mixer or amp, and turn it on. It comes loaded with four preset Pad Banks. Each Pad Bank saves the settings and samples for the set of 16 pads. When you turn it on, it defaults to Bank 1 and is ready for playing or recording.

Call up a pad bank, and the matrix of Velocity Pads is immediately assigned a new set of sounds. The hip-hop and dance sounds the unit ships with are useful, and let you get started playing and programming with the 606 immediately.

Sampling

Roland provides several sampling modes with the 606, making it easy to sample from any source:

• Sample from the audio inputs
• Sample via the USB connection to the computer
• Automatically sample MIDI synced devices

There’s a dedicated control for selecting the sample source, and an Audio In gain knob. Because of the multiple input options, one can keep the 606 connected to multiple sounds sources in the studio, and switch rapidly between sources using the 606 controls.

Sampling is easy. You can sample in mono or stereo. You also have the option of sampling at full CD quality, or reduced resolution for extended sampling times. Considering the large sample capacity and memory card slot, we can see most users sticking with CD quality, and then using effects if they want a lo-fi or bitcrushed sound. If you need extended recording times, though, you can record at slightly reduced quality and have hours of sample time.

Sampling is as simple as setting levels, selecting a pad in a writable bank, and recording. If you are sampling from the computer or from another MIDI device, you can automatically sample a full loop’s length of audio directly to a pad. This works great in combination with the P606 software.

The 606 also supports resampling. This lets you select a destination pad, select the pad sources you want to resample, apply effects, and then automatically resample the mix to the new pad. This can be used to combine sounds, or add effects to a sound.

Once you’ve created and assigned your samples, you can play them back using the pads or sequencer. The 606 supports 8 voices of CD quality sound. It would be ideal if the 606 had 16-voice polyphony to match the 16 pads. In practice, though, the 8 voice limit is rarely an issue, especially when dealing with short, percussive sounds.

Sample Editing

In addition to the basic sampling functions, the SP-606 supports advanced editing. The large LCD screen comes in handy here. This lets you trim samples to clean them up. You can set the sample to be looped or not, reverse the sound, and set the trigger mode to normal, gate or one-shot. You can also chop samples into Recycle-style slices. This lets you pull individual beats out of a sample.

The BPM Sync option lets you set a native BPM (beats per minute) for audio loops. Once you’ve set this, loops will automatically stretch to follow tempo changes, without changing the pitch. The results are good for small to medium tempo shifts, and get weird (or interesting, depending on your perspective) with larger ones.

Effects Processing

The 606 has a powerful effects processor, featuring two stages that work in sequence. You can chose from a large range of effects (listed below), including Compressor, Isolator, Filter + Drive, Slicer, Reverb and Tape Echo. Each effect can be modified using three controls, resulting in a lot of flexibility. Each effect processor can be enabled or disabled using dedicated buttons.

Effects processing can be enabled or disabled on a pad-by-pad basis. Unfortunately, there are no effects send levels for the pads. This means that there’s no easy way to get varying effects levels for different samples.

If you need different effects or different effects levels for each pad, you can resample sounds using the effects chain to incorporate the effect into the sample. By mixing unaffected sample playback, effected sample playback, and resampled sounds, you can build a complex mix.

The quality of effects is very good for a sampling workstation. While they are not the quality of dedicated outboard devices or software effects, they are musical and useful.

Unfortunately, the SP-606 does not save effects settings or bank selection when you turn the power off and back on, and effects are not saved with sound banks. This is an annoyance, because it means that you may have to press a lot of buttons to configure a specific Pad Bank and effects combination. People using the 606 in performance may find themselves madly tweaking effects settings between songs, or opting for other effects processing as a result.

Roland notes that you can quickly access the first 16 effects using by going to MFX list, then pressing pad 1-16. Another option would be to resample pads with the effects in place.

In addition to the two sequential effects engines, Roland provides a separate dedicated mastering stage. This lets you compress or eq the complete mix. This lets you add a little polish to the mix, and bring up levels. While the quality of this stage, like the effects, does not compare to dedicated processors, it lets you get more of a studio sound without any extra gear, and can be very useful.

Performance & Pattern Sequencing

Once you’ve got samples assigned, you can quickly switch between sample banks and play the samples using the 16 pads. You can also select prerecorded patterns and play them back, and use the workstation’s performance controls to vary the sound.

When performing on the SP-606, or when playing back recorded sequences, a full set of performance options are available. You can play rhythms or fills using the pads, use the D-Beam to filter the audio out, trigger a sample, or control a virtual synth, and you can tweak the effects controls. You can also mute or enable any of the tracks to build the mix up or down. With a little planning, you can build rich backing tracks and still have pads left to trigger sounds live.

Building patterns is a breeze with the SP-606. The unit supports up to four parts, and each part has dedicated controls. The 606 is limited to playing back 8 samples simultaneously, but it takes care of voice allocation across parts automatically.

To record a sequence, you just put it into record mode. The screen displays options for setting tempo, number of measures and time signature. Press play, and the 606 will play a measure lead-in, and then switch to Record mode. The 606 will loop the phrase as you add or erase elements in the track using the 16 pads, and other controls. You can switch tracks while recording by just pressing one of the track buttons.

It’s easy to build up complex multi-channel rhythms very quickly. You can erase part or all of a track as it loops, and you can even jam over the existing loop until you’re ready to record the next part.

Once you’ve got a set of pattern sequences close to how you want them, you can switch to Micro Function to edit details. This displays the stream of events that have been recorded, and lets you edit the details like the gate length or velocity of individual notes. This mode makes it easy to tweak minor flaws in otherwise good takes. When you’re done, you can name the pattern, using the wheel to select alphanumeric characters.

Once you’ve got patterns built up, the song mode lets you arrange the patterns into larger sequences. Songs are put together by selecting patterns and stringing them together in the order that you like. It’s a little repetive, but straightforward.

One limitation of 606 sequencing worth noting is that you can’t play back a sample at different pitches. Many samplers make it easy to play a sample at different pitches, so it’s surprising to see this absent. Our contact with Roland says this is because the SP-606 is designed to be a phrase sampler, and doesn’t do keyfollow of samples. The expectation is that you will sample entire phrases, instead of building musical lines from pitch-shifted samples.

If you prefer, you can resample pitch-shifted samples and save them to new locations, but this means means that playing a simple bass line with the SP-606 will eat up a lot of pad locations. Keep in mind the 606’s generous sample capacity, though, and it’s easy to find workarounds for this.

There’s also no support for mix automation of things like effects level changes. Given the large sample capacity, one can work around this by resampling phrases to include the changes.

CompactFlash Memory

The 606 makes sampling so easy that most users will quickly use up the internal sample capacity. Fortunately, Roland provides a CompactFlash slot that supports up to 512mb cards. Once you add a 512mb memory card, the sampling times are insane, over three hours at standard resolution, and over 6 hours at “long” resolution!

A locking cover is provided for the CompactFlash slot, so that you don’t have to worry about losing the card when performing.

Computer connectivity options

Roland makes the most of the 606’s USB connection. It lets you send audio in and out of your computer, letting you use the sampler’s audio jacks as a computer audio interface.

It also lets you use the 606 as a MIDI interface. You can even mount the 606’s memory card on your computer and copy files directly to it. This is a nice feature, because you can copy files to and from card without the need for a separate card reader.

P606 Software

In addition to the myriad capabilities of the SP-606, Roland provides a PC groove-generation application, Cakewalk’s P606. Mac users can skip this discussion, because no Mac version is available.

P606 is a groove-generator, very similar to Cakewalk’s recent release, Kinetic, but customized to work tightly with the SP-606. In fact, the SP-606 acts as a dongle, so you have to have the SP-606 connected in order to use the P606. Unfortunately, this means that you can’t use the software to make grooves on a laptop, unless you bring along the SP-606.

The EXT button on the SP-606 puts it into controller mode, and you can easily assign map controls on the workstation to those in Cakewalk’s software.

The software is designed to make it easy to create short grooves. It has three built-in soft synths, including an analog modeling synth, a “groovesynth”, and an ACIDized file player. It has a library of built-in grooves that you can work with and edit, or you can create your own.

The software makes short work of creating riffs and drum patterns. Virtual effects are also included, and a 16-part mixer is provided to let you build up mixes.

To get more of an idea of what P606 is all about, check out Synthtopia’s review of the similar Cakewalk Kinetic application. The unique features of P606 include a different user interface and integration with the SP-606 hardware.

Once you’ve created grooves in the P606 software, you can easily transfer them to the SP-606 workstation. For example, you can create up to 16 tracks of loops in P606, and export them to the pads on the SP-606. Once you’ve saved the audio loops to the workstation, they can be triggered or turned off and on using the 16 pad matrix.

While both the SP-606 and P606 are powerful and easy to use, there is little overlap between the functionality and interfaces of the hardware and software. It would be great if Roland had included a virtual SP-606 in software that could be used to assign samples to pads, organize banks, and to use within sequencers. A virtual counterpart could streamline dealing with samples, and would be great for recording.

Summary

The Roland SP-606 is a tricked-out sampling workstation that combines extreme flexibility and powerful performance options at a great price. Users looking for a drum machine, sampler or USB audio/MIDI interface may want to consider the SP-606 because of the wealth of options it provides. In a pinch, it could be used for basic multi-track recording, given the large sample capacity.

The matrix of touch-sensitive pads, along with the 4-track sequencer, make it easy to create complex grooves with feel. The addition of Cakewalk’s P606 gives PC users a powerful tool for creating new samples and loops to work with. Finally, the numerous performance controls found on the SP-606 make it more than just a sampling workstation, they make it an instrument.

While the features set and sounds on the SP-606 are tailored to the hip-hop and dance markets, it can just as easily be used for other types of music. Anyone interested in a poweful, inexpensive sampling workstation should give the SP-606 a look.

Pros

• Great mix of features at a fair price
• Multiple functions – sampling, drum machine, audio/midi interface and more
• Pads are good sized and sensitive and make it easy to add life to grooves
• Automated loop capturing streamlines sampling
• Integration with P606 adds a lot of flexibility
• D-Beam controller a fun and powerful performance tool

Cons

• Not as rugged as many performance-oriented devices.
• Effects settings & bank settings are lost between power ups.
• Limited performance controls for dealing with pitched material
  ; no sequencing of parameter adjustments.
• Can’t use P606 without SP-606 connected.

SP-606 Specifications

• Maximum Polyphony 8 voices
• Sampling Modes STANDARD/LONG
• Sampling Frequency 44.1 kHz
• Data Format SP-606 original format (.WAV/AIFF import/export possible)
• Internal Memory Samples: 128 (8 Banks) (Including Pre-loaded Sample Banks)
• Card Memory Samples: 384 (24 Banks)
• Effects Section Multi-Effects: 2 systems, 45 types, Mastering Effect: 2-band Compressor
• Sequencer Section Mode: PATTERN, SONG, Tracks: 4, Resolution: 96 ticks per quarter note, Song Steps: 999, Songs: 25,
• Patterns: 140 (Including Pre-loaded Patterns), Maximum measures per Pattern: 32, Beats: 2/4—32/4,
• Tempo: 40.0—200.0, Pattern recording method: Real time, Step Recording (Note/Sample), Maximum recordable notes: Approximately 18,000 notes (Approx. 8,000 per Pattern)
• Display: 128 x 64 dots (Backlit graphic LCD)
• Controllers: Control Knobs x 3, D-Beam, Pads: 16 with velocity sensitivity

Connectors

• Headphones Jack, Output Jacks L/Mono, R, Input Jacks L/Mono(MIC), R, Foot Switch Jack, Digital Audio
• Interfaces (COAXIAL, IN/OUT), MIDI Connectors (IN, OUT), USB Connector (compatible with MIDI, audio and mass storage class), AC Adaptor Jack
• Power Supply DC 9 V (AC Adaptor)
• Current Draw 1,000 mA
• Dimensions 358.3 (W) x 271.2 (D) x 84.0 (H) mm / 14-1/8 (W) x 10-11/16 (D) x 3-5/16 (H) inches
• Weight 2.3 kg / 5 lbs 2 oz (excluding AC Adaptor)
• Accessories Owner’s Manual, AC Adaptor (ACI Series or PSB-1U), USB Cable, CD-ROM (USB MIDI/AUDIO driver, P606 software), Memory Card Protector

Driver System Requirements:

Windows 98/Me

• Operating System Microsoft® Windows® 98, Microsoft Windows Me
• Computer Windows 98 / Me compatible computer with a USB connector that supports USB Specification Revision 1.0 or higher
• CPU/Clock Pentium, Celeron™, Intel-compatible Processor/400MHz or higher
• Memory 64 MB or more

Windows 2000/XP

• Operating System Microsoft® Windows® XP Home Edition, Microsoft Windows XP Professional, Microsoft Windows 2000 Professional
• Computer Windows XP/Windows 2000 compatible computer with a USB connector that supports USB Specification Revision 1.0 or higher
• CPU/Clock Windows XP: Pentium, Celeron™, Intel-compatible Processor/600MHz or higher, Windows 2000: Pentium, Celeron™, Intel-compatible
• Processor/400MHz or higher
• Memory 128 MB or more

Mac OS 9

• Operating System Mac OS 9 series
• Computer Apple Macintosh computer equipped with a USB port as standard equipment
• OMS Version (for OMS Driver) 2.3.5 or late
• FreeMIDI Version (for FreeMIDI Driver) 1.35 or later
• CPU/Clock PowerPC G3 / 400 MHz or better
• Memory 128 MB or more (You must turn virtual memory “off” before using this driver.)

Mac OS X

• Operating System Mac OS X v10.2 or later *This will not operate in the Classic environment of Mac OS X. When using this, the Classic environment must not be running simultaneously.
• Computer Apple Macintosh series computer with on-board USB
• CPU/Clock PowerPC G3 / 400 MHz or faster (PowerPC G4 recommended)
• Memory 256 MB or more

P606 System Requirements

• • Operating System Microsoft® Windows® 2000/XP
• • CPU/Clock Pentium®-class, Pentium4 1.7 GHz or higher recommended
• • Memory (RAM) 256 MB or more, 512 MB or more recommended
• • Display 1,024 x 768 pixels or higher
• • Hard Disk 500 MB or more
• • USB Port
• • CD-ROM Drive (required for installation)

Effects

• 001 FILTER + DRIVE
• 002 REVERB
• 003 DELAY
• 004 TAPE ECHO
• 005 ISOLATOR
• 006 COMPRESSOR
• 007 LO-FI PROCESSOR
• 008 GUITAR AMP SIM
• 009 OVERDRIVE
• 010 PITCH SHIFTER
• 011 FEEDBACK RIPPER
• 012 REVERSE
• 013 TUMBLING
• 014 FLANGER
• 015 STEP FLANGER
• 016 BPM AUTO PAN
• 017 AUTO PAN
• 018 BPM TREMOLO
• 019 TREMOLO
• 020 BPM SLICE+FLANG
• 021 SLICER + FLANGER
• 022 ROTARY
• 023 CHORUS
• 024 PHASER
• 025 STEP PHASER
• 026 RING MODULATOR
• 027 STEREOIZER
• 028 SPACE-D
• 029 LOW BOOST
• 030 EQUALIZER
• 031 RADIO TUNING
• 032 VINYL SIMULATOR
• 033 GATE
• 034 NOISE GENERATOR
• 035 ENHANCER
• 036 DISTORTION
• 037 FUZZ
• 038 WAH
• 039 CENTER CANCELER
• 040 CHROMATIC P.S.
• 041 VOICE TRANSFORMER
• 042 OCTAVE
• 043 SUBSONIC
• 044 OSCILLATOR(PAD)
• 045 ENVELOPER(PAD)

Spike is a hardware and software solution that is designed to provide everything that you need to record from mics, guitars and line-level sources to your computer. It includes: the XD-2, a USB 24-bit 96kHz Audio/MIDI Interface that features high-end mic preamps and onboard dynamics processing; Tracktion, a new multitrack audio/MIDI sequencer; the Nomad Factory Blue Tubes Warmer Phaser plug-in; and a limited version of Ableton’s Live 3.

Mackie intends Spike, combined with a recent computer, to be a complete solution for high-quality digital recording in home studios, project studios, and on-location.

First impressions

On opening the box, the first thing that strikes you about the Spike package is the XD-2 interface, shown at right. The XD-2 feels rugged, made of thick aluminum, rubberized knobs and a tough plastic base. It feels like it could easily take the abuse of on-location work, or being stuffed regularly into a laptop bag.

The XD-2 is attractively designed, with connections sensibly layed out around its body. The front face features all the controls, along with a headphone output. The curved back has two 1/4″ line-ins, two 1/4″ line-outs MIDI In and Out, SPDIF In and Out, a USB connector, and a power socket. The arrangement is great, because all the connections are easy to get to, while all the controls are right on the face.

The XD-2 has a clever “x” base that turns parallel to the body for storage, and perpendicular to the body for extra stability when you stand it up. It locks into place, and gives the XD-2 a large enough footprint that your cables won’t tip it over. It also has rubberized feet, so it won’t slide when you set it on the table.

The specs for the XD-2 are excellent. It supports 24-bit, 96kHz recording, has high-quality mic preamps, and supports ASIO 2.0, WDM and OS X Core Audio. Inside the interface is a SHARC processor, which is a digital signal processor that lets you use dynamic processing and EQ for tracking and monitoring. This can be configured through a graphic interface on the computer, but the processing is handled entirely by the onboard processor.

Face layout and Rear Connections

The front is sensibly layed out. All of the connections are around the curved back, except for the headphone connection, which is conveniently placed at the front bottom. This leaves the front clean and keeps all controls easily accessible.

At the top, there are two sets of controls for the two inputs. For each, there is a gain pot, and two on-off buttons. One adjusts the input circuit for guitar levels, and the other enables a high-pass filter. In addition, there are three indicator level lights. A 48v button enables/disables phantom power for mics that need it.

Besides the input controls, there are three more pots; one adjust the mix from direct to USB; the second adjust the monitor output level; the last adjusts the Phones level.

The two analog inputs have high-headroom Mackie mic preamps, and support mic, line and instrument sources.

Discussing the XD-2’s layout doesn’t really do the interface justice. The XD-2 combines the functions that most users will commonly need for home and location recording. It places them very ergonomically. Even with multiple lines connected, it seems stable and its easy to make connections or change control settings. Best of all, everything is arranged and labeled sensibly, making it easy to use.

The Spike XD-2 USB Interface is fantastic. It’s stylish, easy-to-use, tough and intelligently designed. Its size and construction make the XD-2 a great option for laptop-based studios.

Software

The XD-2 would be useless without software to use it with. The Spike Recording System comes with a CD of software that includes the XD-2 interface software, Tracktion, a cut-down version of Live, and a phaser plug-in.

It’s worth noting that Mackie is only supporting current operating systems with Spike. The minimum requirements are Windows XP, or Mac OS X 10.3.

The CD includes a HTML file that guides you through the installation and authorization process. We tested this on a mid-range Mac system. Unfortunately, the installation documentation is only provided on the CD, as a HTML file. This means that you have to toggle between a web browser and the multiple windows that are used during the install. This is cumbersome, and slows things down. We would like to see a hard copy version of the install instructions included, or at least a version included that is formatted for printing (PDF).

Other than this minor inconvenience, the installs went without a hitch. There are separate installs for Tracktion & Mackie Live. This lets you install only the software that you want to use.

Once you load Tracktion and Live, it is easy to use the XD-2 with these applications. Mackie does not provide any documentation for using the XD-2 with other applications, but says that it should work with applications that support ASIO, WDM, and OS X Core Audio. Using it with Apple’s Garageband only required selecting it within the Garageband preferences.

In addition to Live and Tracktion, Spike includes the Nomad Factory Warmer Phaser and MDA virtual instruments and effects. These add some additional flexibility and sound options.

XD-2 Software

The XD-2 can be configured and controlled from a software interface. While important controls like levels are available directly on the front of the XD-2, the software supports much greater control.

The software lets you configure functions of the onboard dynamics processor, including compression and EQ. It’s important to note that the software interface is controlling the functionality of the XD-2, and is not doing the processing on your computer. This means that you can apply dynamics processing to the incoming signals without any extra load on your machine.

The software is very powerful, and includes features lacking in many of the compressors and EQ’s built into popular audio/MIDI sequencers. The bottom line is that you get excellent control over dynamic processing without a CPU hit. Sweet!

Tracktion

Spike includes a full copy of Tracktion, a Mac & PC audio/MIDI sequencer. It was originally developed by Raw Material Software, and now distributed by Mackie. Tracktion is designed to be easy to use, but powerful.

The Tracktion interface is clean and fairly straightforward. It is simpler than some other applications, partially by design, and partially because of its limited feature set. It is optimized for typical digital audio workstation work, and leaves out tangential functions, like editing in staff views, and notation printing.

Unusually, it dispenses with the usual virtual mixer approach to handling tracks. While you have unlimited tracks, they are basic playback channels. Tracktion lets you apply “filters” to each channel, which lets you add in any functionality that you like. In Tracktion terminology, a “filter” is anything that you drop into a track, such as effects or virtual synths. There are built-in filters provided for common functions, and Tracktion recognizes audio plug-ins and makes them available as filters.

Tracktion provides a set of “filters” to cover most basic needs. These include Reverb, Chorus, Delay, EQ, Compressor, and Phaser. Virtual instruments are also dropped in as filters, and a basic sampler is provided. The effects and sampler are all useful, providing bread-and-butter functionality.

Tracktion’s approach will be new to users that have previously used software with a virtual mixer. It seems strange to have to drop in filters for things like panning or eq to a channel. This is probably a more efficient use of the computer’s processor, because you only put in the filters that you need. However, it can also mean a little extra work to add basic mixer functionality, and that your mixing controls may vary in position from track to track.

A side effect of Tracktion’s lack of virtual mixer is that there are no pre-configured busses or subgroups. While this may make the program easy to use for beginners, more experienced users are likely to scratch their heads the first time they want to do things like apply a reverb across multiple tracks.

Tracktion does provide two options for sharing filters across multiple tracks. The Master Output section lets you drop in filters, such as eq or compression, that are shared across the final mix. The other option is Rack Filters. Rack Filters let you split off audio from multiple tracks and route it to a set of shared filters. This lets you setup up complex routings, and lets several tracks share effects, similar to sub-mixes on a traditional mixer.

Apple’s approach to hiding the mixer in Garageband is more elegant. In Garageband, each track has levels for things like reverb and echo. These hide the complexity of sends while keeping the functionality. Tracktion’s approach, however, provides the flexibility that advanced users will want.

One aspect of Rack Filters that experienced users will love is the ability to create preset racks. If you have a configuration of effects that you use a lot, you can save it as a preset rack. Anytime you need it, you can call up the preset and start routing audio to it.

Most budget sequencers now provide a small set of virtual instruments, such as a subtractive synthesizer and a percussion module. Tracktion lacks this, making it primarily an entry-level recording solution, rather than a soft-studio. Tracktion’s built-in instrument set is limited to a basic sampler. However, because Tracktion supports VST plug-ins, users can use more sophisticated virtual instruments and effects if they have them. A set of plug-ins from MDA are included, and this adds the freeware DX-10 FM virtual synth, along with some additional effects.

Tracktion opens to a tabbed interface. There are tabs for projects, settings, and the open project. A project is single file that contains all the necessary audio and MIDI data to make up a Tracktion arrangement. Once you select a project, the project window lets you directly access the elements included within the project. The settings tab lets you modify Tracktion’s configuration. This is where you can select an audio interface, like the XD-2. The project window is where everything else is done.

The project window is clearly laid out. The bulk of the window is taken up by various tracks. On the left, you can drag inputs to “patch” them to any of the tracks. This is very intuitive, and makes it easy to see the signal path at a glance. To record from the XD-2, you drag one of the audio inputs to connect it to a track and select record. Tracktion starts recording at the current position. At any time, you can drag and drop a “filter” onto the track to add effects or other functions.

The bottom of the window holds menu options, transport controls, and edit options that change, depending on the context of what you are doing. Most common functions are on-screen all the time, which helps make Tracktion fast and easy to use.

Editing capabilities cover basic requirements. For audio, you can do things like time-stretching, normalizing and fades. For MIDI, a piano-roll editor is provided that lets you change the details of MIDI clips. MIDI tracks can be bounced to audio, to minimize load, and for further mixing.

Once you’ve recorded and edited your tracks, you can export out a full mix. Tracktion can output a stereo audio file in several formats.

Tracktion is a straightforward audio/MIDI sequencer for the Mac or PC that provides enough functionality to let you record and mix tracks professionally, while avoiding many of the complexities of other applications. On our test Mac, Tracktion was very stable, and did not crash or exhibit any other unexpected weirdness.

Tracktion’s simplicity comes with some trade-offs, though, making it best for users that are primarily interested in an easy tool for recording and mixing audio.

Ableton Live Mackie

Ableton Live Mackie is a limited version of the popular Ableton Live software application. Live acts as a real-time audio sampler and sequencer, which you can play like an instrument. Live is an excellent application for creating music with loop-based audio files. The Mackie version will look familiar to live fans, except that it has some limitations, to encourage you to upgrade to the full version.

Miscellaneous

While the Spike system is impressive, potential buyers should be aware of a few limitations to the software and documentation provided.

The documentation is fairly limited, and is supplied only in electronic form. We would have liked to see a few trees sacrificed for a printed install manual! Users new to recording could also benefit from step-by-step instructions for working with various sources. Once users go beyond the basics, the many options that the Spike system offers may confuse new users. For example, there are at least three options for applying compression; while recording through the XD-2; using the XD-2 while mixing; and using native plug-ins. Many users will not know when each approach is appropriate.

For “prosumer” home-studio owners, other entry-level recording applications are more attractive than Tracktion. While Tracktion is very powerful, its limitations and lack of an upgrade path mean that power users may eventually hit a brick wall. Our contact at Mackie says that their developers are working on Tracktion 2, and that an updated version should not be far in the future. It will be interesting to see what new features this brings.

In testing the XD-2, we got great results with the two analog inputs. We were not able to test recording at full 96kHz resolution, because of limitations of the current drivers. Beta drivers are now available from Mackie that should address this issue.

None of this should keep users from having a great time with Spike, or from making great recordings. Better documentation, and possibly a different entry-level sequencer, would just make it easier for all users to get started with Spike, and give them more flexibility.

Summary

Mackie’s Spike is a well-rounded package, with rock-solid professional-quality hardware, and capable software. We were especially impressed with the XD-2. The XD-2’s small size and rugged construction make it attractive for recording with laptops. It’s also ideal for home studios and project studios that want to add a pro-quality digital audio interface. The Spike XD-2 sets a new standard for portable audio/MIDI interfaces, with great specs, tank-like construction and a dash of sex appeal.

The only real disappointment with the Spike system was the documentation. Better documentation would make it easier for all users to get started with Spike, and help them get the most of it.

Mackie claims that “Recording music on your computer doesn’t have to be such a pain in the ass.” Spike makes their case pretty well, providing everything that you need to turn a computer into a pro-quality digital audio workstation.

The 777 seems innocent enough, until you find yourself wide awake at three in the morning, tweaking the perfect bassline in a cold sweat! The 777 is a bad mutha of a monophonic bassline synth. Pride, greed, envy, anger, lust, gluttony, sloth – it’s all of these things wrapped into one.

The Future Retro 777 is best known as an alternative to the Roland TB303. In fact, the 777 can reproduce all the squeaks and blurps that a 303 can generate without any trouble.

It’s got fantastic analog sound, and the 3-pole filter nails the 303 sound. The 16-step sequence may seem limiting on first glance, but its flexible control over accents and slides let you create sequences that are impossible on most synths.

Thinking of the 777 as just a replacement for a 303, though, is limiting. In fact, the 777 blows away the TB303 in every way, except for possibly mystique. The 303 has six knobs for tweaking – Tuning, Cut-off Frequency, Resonance, Env Mod, Decay, and Accent. The 777 has more knobs than that in one row!

Future Retro took the best parts of the 303, the portable size, the unique filter, and the freaky sequencer, and has expanded its capabilities to create a full-featured monosynth. The great thing about this is that it lets you do 303-style basslines, but with a much wider variety of sounds.

For starters, the 777 includes a much wider variety of sound sources. There are two full-featured analog oscillators, which have continuously variable wave shapes. Each oscillator has a sub oscillator circuit with a dedicated controller. There’s even white noise and a jack for external audio sources. The 777 also has an extensive modulation matrix that lets you do things like cross-modulate the oscillators. These options give you the ability to go way beyond basslines. The sound-generating options are closer to something like a Sequential Circuits Pro One than a Roland TB-303.

The 777 also includes some interesting additions that let you create greater variety in your sounds, without needing additional external devices. One example is the overdrive circuit, which lets you add distortion effects that would otherwise require an effect pedal. Another cool feature is the filter toggle that lets you switch from the 303-style 3-pole filter to an unusual 7-pole filter. The 7-pole setting cuts off frequencies more dramatically than the 3-pole filter, doubling the range of filtered sounds that you can create. There’s a high-pass filter which follows the standard signal path, letting you apply the filter as an effect to a sequence, rather than an integral part of the notes. There’s even a bass boost switch, in case your monitors have survived the analog oscillators, resonating filters, and throbbing sub oscillators.

Details

It’s clear that Future Retro sweated the details when they designed the 777. The synthesizer has a solid retro feel, with the wood end-cheeks reminiscent of many classic analog synths. The case is made of tough metal without being overly heavy. The knobs are densely packed, but are big enough and spaced far enough apart to not feel cramped. The faceplate is broken up with informative graphics that make it easy to find the knob you are looking for.

Almost all of the controls have one function, meaning that you’ve got a dedicated knob for anything that you might want to tweak. This makes the 777 a great synth for live electronica artists.

The sequencer is easy to use, and can be tweaked as it runs. To program a sequence, you can just start the sequence, and start tweaking it. Each step in a sequence has a button that lights up. To edit that step, you just press the button and use the up and down buttons to adjust the settings. You can also turn on slides and accents for each step.

Each sequence, or pattern, is up to 16 steps long. A cool feature of the 777 is that you can set the loop point anywhere you like. This lets you create sequences that loop after 7 steps, 15 steps, or whatever funky number you like. The sequencer saves while you tweak patterns. This is a great feature, as long as you’re aware of it! You never have to save.You can also link patterns into larger patterns, so you can have 32 or 64 step sequences with TB303-style accent and glide!

You can combine patterns into songs. There are 16 song locations, and each can combine up to 3580 measures of patterns. Patterns can be transposed in any measure, allowing a lot of flexibility. Unfortunately, while the sequencer is powerful, specifiying all the measures in a song can be slow.

Around the Back

Future Retro went all-out when it designed the 777, and the backside is no exception. There’s MIDI IN/OUT, but not through. This lets you play the 777 from any standard keyboard, and also use the 777’s sequencer to control any MIDI-compatible keyboard or module. While this is very cool, it doesn’t transmit your knob tweaks, which would have put things over the top.

Analog fans can jack into the 777 with it’s wide array of 1/4″ sockets. There are jacks for voltage in/out, gate in/out, accent in/out, filter in, and audio out 1/4″ jacks on the back panel. This lets you use the 777 to control other analog equipment, or use analog other analog equipment modularly with the 777. Finally, you can use the 777 as a MIDI-CV converter, letting you control CV, Gate and Accent through MIDI.

With TB303’s going for hundreds of dollars more than a 777, there’s really no contest. The Future Retro 777 is the ultimate bass line synthesizer.

The ER-1 is one of Korg’s first generation series of Electribes. This include the Electribe EA-1, an analog-modeling bass/lead synthesizer; the ES-1, a rhythm sampler; and the EM-1, a groovebox workstation. Each of the Electribes has 16 step lightable keys that make programming rhythms a breeze. Each of the Electribes is programmed by pressing a step in a sequence and assigning it a value, or by putting it into loop mode and playing and tweaking a rhythm or melody until you get it the way you want it.

The Electribes are a blast to work with because of their ease of use, their good sounds, and the light show they put on as they play. The ER-1 is one of the stronger of the Electribes. It provide ten possible rhythm parts; four analog modeled voices, two audio-in parts, 2 hi-hat parts, and crash and clap parts

The hi-hat parts, crash and claps are sampled, and provide convincing sounds with a limited amount of editability. You can adjust the envelope on the samples top clip them, and pitch them up or down. It would be nice to have the choice of multiple samples, but the one provided do the job. The crash sample seems a little clipped, too, but is light years ahead of the crashes on classic drum machines.

The four analog-modeled sounds, on the other hand, are very flexible. Each voice can be edited to create bass drum sounds, toms, noise snares and more. You can even program simple bass and synth sounds, though, because the ER-1 is designed to be a percussion synth, programming melodies on it can be a chore.

The synth voices are fun to tweak. They can create quite convincing analog sounds, but also weird new sounds that seem to be a side-effect of trying to make a digital synth sound analog.

The ER provides just enough effects to create a polished rhythm track. The delay has a wide time range, which provides an interesting range of effects. It also can be sync’d to the tempo. There’s also a bass enhancer which adds a sort of distorted deep bass to sounds.

The audio-in parts are especially welcome, because they have become a rarity on modern equipment, but provide a great deal of power. Plug a cheap synth into one of the audio ins, program a rhythm for the audio part. Then play some chords on the synth, and the ER-1 will rhythmically gate the chords, making even a cheap synth sound very cool.

Once you’ve programmed the sounds you want, you can create arrange the sounds in a mix. Each sound can be panned, and its level can be set as needed.

Once you’ve got everything tweaked, you can create patterns, and then arrange them into songs. One appealing feature of the Electribes is that you can combine “motion sequences” with your patterns. Motion sequences record your knob twiddling, so that sounds can evolve and move throughout the pattern. You can use this to bounce sounds around the stereo image, to change the pitch of sounds, and much more.

If you’re looking for a drum machine to provide interesting analog-style sounds, the ER-1 is a good inexpensive machine to consider. It provides a broad range of sounds and has its own unique sound, too.

Specifications:

Number of Parts:
10 (4 synthesizer parts, 2 audio in parts, 2 hi-hat parts, 1 crash cymbal part, 1 hand clap part)

Memory:
256 patterns, 16 songs

Effects:
Delay (normal, motion sequence, tempo delay)

Sequencer:
(Pattern) 64 steps maximum per part, motion sequence, 1 parameter per part, 64 events, (Song) 256 patterns maximum per song, event recording 35,700 events maximum

Input:
AUDIO IN (1/4″ phone jack – mono x 2)

Output:

L/MONO, R, (phone jack – mono x 2), headphone (1/4″ stereo phone jack)

AD/DA Conversion:
18 bit linear

MIDI:
IN, OUT, THRU

The microKontrol is styled after Korg’s popular microKorg synthesizer. Unlike the microKorg, though, this keyboard isn’t a standalong synthesizer. This is a USB controller designed to be used as a control keyboard.

For general use, the microKontrol keyboard is one of the best USB control keyboards available. It provides a large number of controllers, and provides every controller type that you need for most electronic music creation. It has a 3-octave keyboard (37-note mini keyboard), 8 encoders, 8 sliders, and 16 trigger pads that you can use to control your favorite soft synths, DAW (Digital Audio Workstation), or other musical tools such as external MIDI sound modules. Korg packs the microKontrol with knobs, sliders and pads, yet it is layed out in a very straightforward manner.

The Controls

The first thing that you may notice about the microKontrol is the keyboard. The keyboard is a mini keyboard, which means that it’s probably not the first choice for pianists. It’s important to note, however, that this isn’t designed for playing Chopin on, it’s designed for controlling an virtual instruments and electronic music studios. For entering in basslines, playing pads, or playing a lead, it does the job. It doesn’t take too long to get used to, and you can play tricky two octave leaps without any problem. The keyboard is velocity sensitive, and it has Octave Shift and Transpose keys, so you can play in any octave.

In addition to the keyboard, the microKontrol has eight rotary encoders and eight sliders, 16 pads, a joystick, and you can hook in pedals. This gives you 35 controllers. The 8 encoders and sliders can be assigned to transmit any MIDI control change (including NRPN and RPN messages) to control volume, panning, or anything else. Each encoder and slider also has an LCD that indicates the parameter and the transmitted value, with the backlight color changing between orange and green to distinguish between the encoder and slider. The LCD’s are very useful, because you don’t have to look at the computer to check what you’re controlling.

The microKONTROL provides 16 trigger pads that can be assigned to just about anything you like. The pads can be used to trigger notes with full velocity transmission, or assigned to transmit MIDI control changes to operate the transport of your recording software or act as any type of switch. This means they can be used like an MPC. You can use them to trigger 16 samples, or to control loops in a sequencer, or even just to enter drum sounds.

It’s easy to re-assign controllers to any MIDI signal, and you can save these and call them back instantly.

Connections

The microKONTROL provides MIDI IN/OUT ports, and can also be used as a USB-MIDI interface. You can use MIDI clock data to control the tempo, or transmit MIDI messages directly. The microKONTROL can also be powered via its USB connection, making the AC power supply adaptor or even batteries unnecessary when connected to a computer via USB.

Specs:

Supported operating systems: Mac OS X, Windows XP

Technical Description

Controllers:
Keyboard: 37 Keys (mini-keyboard, transmits velocity)
4-way Joystick (with switch)
16 Pads (can transmit velocity or fixed value)
8 Rotary Encoders
8 Sliders
Value Dial

Display:
Main Display: 8 characters (8×5 dot) with 3 segment backlit LCD
Sub Display: 8 characters (8×5 dot) with 3 segment backlit LCD
Tempo LED
Memory: 12 User (RAM) locations

Connectors:
DC 9 V (AC adapter)
MIDI IN, OUT, THRU
USB connector
Expression Pedal

Power Supply: DC 9 V (AC adapter) or 6 AA batteries
Power Consumption: AC adapter: 3.5W (Max)

Dimensions:
20.63 in. (W) x 9.13 in. (D) x 2.76 in. (H)
524(W) x 232(D) x 70(H)mm
Weight: 2.6kg/5.73 lbs.

Accessories:
AC adapter (DC 9 V, 600mA), USB Cable, CD-ROM: microKONTROL Librarian Software, Template Sheet, Driver, Name Sheet, Seal for Trigger Pad

Options:
DS-1H Damper Pedal
PS-1 Pedal Switch

System Compatibility:
Macintosh: Supported OS: Mac OS X v10.2 or later
Supported Computer: Apple Macintosh with Mac OS X and USB port

Windows:
Supported OS: Microsoft Windows XP Home Edition/Professional
Supported Computer: PC with Windows XP and USB port (recommended Intel USB chipset)

It hooks up using a USB cable, and runs off of USB power. This makes it a great portable audio interface for laptop musicians. The sound quality is great, so you can record stereo, or two mono channels, and get excellent results. A headphone output with dedicated volume control is provided so you can monitor sounds before they get to the computer.

Features

• 2 analog inputs and outputs, featuring Focusrite mic preamps
• 24-bit stereo S/PDIF digital I/O
• Pristine 24-bit signal path from input to output
• 2 analog TRS inserts
• Headphone output with dedicated volume control
• Zero-latency monitoring
• 100% USB powered
• Comes with Pro Tools 6.0 LE software

System Requirements

• Mac OS 10.2.6 required
• Total System RAM: 384 MB minimum, 512 or higher recommended.

In Use

The UC-33e comes with 33 pre-configured presets that support popular virtual instruments and sequencers, from Cubase SX to Propellerhead Reason to Native Instruments B4. Evolution provides five colorful overlays, which customize the front of the controller for use with Native Instruments Pro-53, B-4, Ableton Live, mixing, and a blank one. Recently, they’ve released additional inexpensive overlays that you can get for other popular applications.

The controllers can be programmed using the UC-33e’s numeric keypad. To do this, you select a controller, then just enter in a MIDI cc number. This lets you change any controller to transmit any MIDI message, including Sys-Ex messages. Once you’ve customized the setup, you can save it into one of the 33 memory locations.

It can be used with computer-based audio systems, but also is useful for use with hardware MIDI modules. This makes it a lot easier to modify setting on rack systems.

The UC-33e is small enough to use with notebook systems, but doesn’t have any major limitations because of its size. The one item that some may miss is a jog wheel. The UC-33e is an excellent first control surface, because it gives you a large number of knobs and sliders, is easy to program, and doesn’t duplicate the MIDI piano keyboard that most musicians will already have.

The UC-33e can of course also be used with a conventional MIDI setup, for live performances or as a remote controller for your existing studio rack. The MIDI Out not only acts as an output for data from your computer system, but used stand-alone the UC-33 sends MIDI controller data straight from the MIDI Out to your MIDI rack. Even complex live setups are easy to control from a single unit due to the UC-33’s powerful programming features.

Features

• 24 fully assignable rotary knobs
• 9 full-size assignable ALPS faders with light indicators
• Independent channel assign for all 47 controllers
• 33 memory locations for storing your settings, including 4 one touch access buttons
• 14 assignable buttons provide fingertip control over Transport and other sequencer functions. Doubles up as essential numeric keypad for data entry.
• Unique controller mute function mutes the output of all controllers so you can position them to the value you want before tweaking.
• Multi-purpose LCD display shows controller assignments
• Drawbar mode for faders for realistic control of those classic organ sounds
• Memory dump facility.
• Global channel assign allows any given set of controllers to control up to 16 different channels at the touch of a button, while others can keep their channel setting.
• Sys-Ex librarian software allows PC users to load, save, send and receive any combination of setups for your studio.
• Snap Shot sends out current controller position data and sets your synths controls to the current UC-33 setting.

Requirements

• Controllers Requirements: PC/Mac or MIDI hardware with USB or MIDI In.
• Software Requirements: Pentium II 300MHz 128Mb RAM or better, USB socket, Windows 98/ME/2000/XP, approved MME or ASIO compliant soundcard.
• iMac, Power Mac G3 or better with USB running OS9/OSX.
• Controller powered by USB (cable included) or 9V DC, 250-300mA centre positive power adaptor (not included)..

Dimensions

• 32 x 21 x 7 (cm)

The MPD16 is an MPC-style MIDI pad controller. It gives you 16 touch-sensitive pads that you can add to your computer music workstation by just hooking up a USB cable. Carrying on the style of the MPC series of production workstations, the MPD16 is a self-contained unit that connects via USB and/or MIDI to computers and other MIDI devices, such as samplers or drum machines.

It hooks up in a few seconds and is easy to configure. It comes with drum program set-ups, but it’s easy to configure for custom use, too. This makes it very easy to use for entering drum rhythms, or to trigger samples. It makes a great performance tool, also, because you get immediate access to a lot of sounds.

Note that the MPD-16 is a pad control surface, but not a sampler or a workstation. It acts as a controller, and relies on the sounds within your computer, sampler or drum machine to make the actual sounds.

The MPD16 is well-built and easy to use. Programming drum beats works great, because the 16 pads are pressure and velocity sensitive. They generate Note-On events when tapped. The pads create 16 steps of velocity, too. It also has a bank switch, to switch between two sets of sounds.

Settings can be configured via a computer using USB. It’s designed with computer users in mind, because the parameters settings, such as MIDI notes assigned to pads, MIDI channel, and so on, can be assigned from a computer connected to the USB cable. Power can be provided via the USB cable, too.

The MPD16 is inexpensive and a great addition if you need a way to trigger sequences, loops, samples, or drum sounds.