M-Audio’s first Trigger Finger might be the most ubiquitous controller in laptop music. And as both a controller and a step sequencer, if you connect it to a power adapter, you don’t need the computer connected at all. The user interface walkthrough is essential, as otherwise it can be unclear (even from the Quick Start documentation in the box) just how things work. So take everything you can do here, and assume you might use it to work with other software tools and gear. I definitely have some criticisms along with the praise, and some more details on how you can get the most out of this.
So could you use this like an MPC and have multiple projects containing multiple patterns on it?
Can each pattern contain more than one MIDI note, chords etc or is it purely for controlling one pad?
The clicking is quite obnoxious too, just not a nice piece of hardware judging from the video at least. For a system like that to work best, it is important that hardware and software be designed together.
As per usual for Sinevibes, there’s loads of graphical feedback, a simplified (Retina-quality) UI, and tons of modulation. CDM is an online magazine for creative technology, from music and DJing to motion and more.
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Left Field Labs’ Music Drop allows you to create your very own tune, which will then be 3D printed and shipped to you, allowing you to marvel at the wonders of modern technology, and replay the tune every time you crank the handle. Left Field Labs is bringing the past, present, and future together into the tiny Music Drop. Due to the overwhelming popularity of the Music Drop, the free print and ship option has been disabled.
Travis is an all around geek with a love for technology and he has been involved with 3D printing for several years. Pioneer, that best-known brand of DJ hardware, wants you to use hardware alongside software.
Pioneer is taking hardware effects and packing them in a package you can use with software or on its own. The whole thing is customizable, says Pioneer, so much so that they’ll also provide for download presets by DJs Chuckie, Kissy Sell Out, Kutski, James Zabiela, Doorly, and Laidback Luke, in a play to some name recognition for DJ youngsters.
Now, those names aren’t going to make everyone happy, but where the box looks impressive is in the effects macro department. So what does this do that I can’t already do with traktor or other existing equipment? That brings up the idea of cloning what’s good about this interface and adapting it to other platforms. I think Kaoss pads have known output volume issues and the Pioneer probably has better sound hardware on board, but it is still too expensive. One of the most popular and lovely is Michael Kors iPhone Cases the Invicta Women’s Square Angel Diamond Stainless Steel Chronograph Watch, as it is square shaped and has beautiful diamond accents in the diamond encrusted stainless steel surrounding. Avid Video Engine from Avid Media Composer – native playback of MXF HD, Avid DNxHD, and other HD video formats. As an aside, this week also brought refreshes for the Fast Track USB audio interface line that add iOS support. I’d add to that situation the way in which these DAWs sometimes seem to exist on separate planets. I think I am going to need a new machine, which I’m due anyway, and a rethink about my setup before I even attempt to think about PT11. As someone that doesn’t use PT but does tracking and mixing in studios that use it, non-realtime bouncing is my top request!
Cakewalk today did something quite unorthodox for the company: it launched a product on Facebook. Cakewalk also includes easy Flash-based music player creators, so you can share your finished tracks easily on the Web, and notation publishing features with tablature and guitar chord support. In other words, you get the power of what might once have been a flagship Cakewalk DAW, for 35 bucks.
Cakewalk’s clever Publisher tool makes it a snap to export directly to an embeddable player. As far as value, though, there’s a whole lot in this box, and a nice balance between looping features and the sort of acoustic drums and notation and sharing features that could appeal to bands just starting to add a computer. The toughest competition for this, I think, is the elegant and flexible REAPER, which also costs just 40 bucks for a non-commercial license. Not to be all Cakewalk fan-boy here, but last week I was out at a local performance and some young wannabe singer was asking me questions when she heard I had a home studio. I recommended Reaper at first, too, 'cause the price-point is great for the entry-level. If I want to give my 12 year-old nephew something to use on his family computer to learn and have fun with digital audio, this looks perfect.
I actually think either is a little better balanced than GarageBand, certainly than Steinberg Sequel. There are plenty of reasons to consider free software tools as part of your toolchain for music making. What usually holds people back from free software projects is, simply, not knowing where to begin. Warning: I just discovered that this thing pops up an annoying survey that assumes you use JBoss.
For additional resources, there’s a superb guide on the Fedora site (one that Ubuntu actually might mirror). Adam himself operates the FOSS Audio KBase, full of articles on configuration and individual software programs. Dave and I joined Columbia’s Brad Garton at Virginia Tech to do a bit of teaching, a bit of playing, and to enjoy the hard work of the Linux Laptop Orchestra.
Ardour 3, the next-generation update to Ardour that at last adds MIDI support (and beautifully executed). RubberBand Audio Processor Powerful time stretching tool, now on Linux, Windows, and Mac OS.
The focus of Dave’s presentation, though, was one tool so deep, it could easily be your only tool, for the rest of time. But as with proprietary software, I think the biggest danger with Linux and free software is that you can become overwhelmed with choices rather than focusing on music.
I agree that things like SC and Pd ought to be on here – if you have those, you can really ignore pretty much everything else, if you want.
If I wanted to use Super Collider or PD I could do that on my Mac, but I am not interested in coding to make music. DIN would probably make my list, too, though I haven't gotten the time to spend a lot of time with it personally. I do find it amusing, though, that Linux or free software in general faces all this skepticism… this is a list of very powerful, very useful tools you can run on just about any machine. If you wanted to experiment with the low latency aspect of Linux for live performance would Ardour be the choice as your plug-in host?
Another tools I consider essentials is JAMin for mastering and Audacity for minimal edition, not to mention this was the first Free Software app I use in my life; definitely an opening for the FOSS world.
Otherwise, I do agree that there's some effort involved in running Windows plugs on Linux. Sonic visualizer is super cool, cross platform and the related projects are worth looking at. Seems like an extension of their portable recorders-slash-USB interfaces (I think at least one of those devices has a simple four-track recorder built in, effects, etc.) — so does anyone know how it will compare to those units price-wise? Kinda curious is the 16 and 24 do more than two channels back to the DAW through usb or not too ?


If the drum machine speaks MIDI, that would be even more interesting, because you could do some limited sequencing with the box. At that point, you have to wonder whether this is a lo-fi alternative to a MachineDrum + OctoTrack.
If you could send channels just to the headphone output it would make a great playback machine.
I used to have a zoom ps04 and always thought people were sleeping on those things creativity wise – 4-track with a built-in drum machine with like 6 kits, a sequencer with both step sequencing live recording options.
Obviously this is going to be marketed toward people with different needs, but I haven't read about it anywhere yet.
In a review I'd like to see how hard is it to move audio from the computer to the r8 for use in standalone mode. Zoom really blew it with this unit; one should be able to use his own samples with the sequencer. I am thinking for laying down vocals..Can vocals be recorded with reverb or is the facility only available at mixdown ? I plan to use this unit for recording stereo backing tracks from an external source to 2 tracks of the Z R 8. If this unit can keep its promise and is not packed with features one would never want to use when just playing, the R8 could be my next purchase.
I have the ART prochannel mic preamp,and a condenser mic.I want to record vocals and karaoke play backs that i find them in the internet.Can i make this with the R8? M-Audio quietly released some videos to do just that, showing the basics of each of these features. But as I work on that review, that’s all the more reason to ask readers what you want to know in advance.
They are hands-on and easily upgradable, making also full use of generic computers with cpu, visual fb, file management and storage. While this is great for some instrument builders it will also take time and involve some setting up. That is fed into a spectrum analyzer with up to 64 frequency bands – change the number of bands for richer or more synthetic effects.
To animate the resulting sound, assign two separate modulators, each with 8 waveforms, adjustable chaos, lag and curve. Watching the needles plink over different heights of metal, watching as a combination of timing and shape somehow created a tune. Combining a music box –a favorite from the past, with a tune from the present and with 3D printing technology of the future, they have created a customized and unique innovation. If you know your way around 3D printers or 3D modeling, whether you are a user, engineer, salesperson, vendor or blogger, we'd love to have you write an article for us. Because the RMX is a stand-alone hardware unit, you can use it as an effects unit and sampler, only returning to software when you’re back in the studio. With its durable mineral crystal, it is not only beautiful to behold but also guaranteed to last wear and tear for a lifetime. One of the most striking aspects Michael Kors Wallets of the watch is its soft pink and silver tones that give it a feminine elegance. The dials are gold and each of the indices are marked with gold slashes over a pearly silvery dial. Made of stainless steel and a horn acrylic bracelet and round case, this watch has a pearly dial with crystal accents and indices, as well as logo, date window, and three smaller dials that give it a wonderfully classic appearance. There are no whiz-bang features in this upgrade; instead, it seems Avid was solely focused on performance. That has become a standard feature, and it means, if unintentionally, USB class compliance for Linux and embedded devices, to boot.
Ableton Live has nicely sewn up the independent producer market that was once the domain of entry-level Pro Tools versions, and, absent their one-time German rival Logic, Steinberg has released a set of rapid-fire upgrades to Cubase and Nuendo that continue to improve those DAWs. There’s only one physical port available on iOS devices so far, so including MIDI means I buy your product instead. However, it’s going to be a while yet before I start integrating it into my actual workflow.
Is it just that they haven’t certified all the Apple models yet for PT11, or have they made an announcement?
I can’t understand, really, how it was possible for PT to become industry standard without this essential feature!!!! Music Creator had always, quietly, been a big hit for Cakewalk: it’s cheap, entry-level software for the PC, which has the potential to reach a big audience of computer users.
The arrangement window has the familiar, GarageBand and ACID-style loop arrangement window.
You get preset playback features – a bit like what you get in Kore Player, down to the pre-mapped 4-8 knobs and 4 trigger buttons – with 150 instruments. I actually think the integrated interface in Steinberg’s rival Sequel is a bit more efficient and runs on the Mac, too, but there’s quite a lot of added-in functionality in Music Creator that makes it broader in scope, and some of that added power may be a deal-maker depending on your needs.
Cakewalk gives you a lot more in the box, but the host itself in REAPER is objectively more powerful and can actually stand up against high-end DAWs. I have a lot of respect for Apple, their audio team, and the Mac, but I can't see buying a Mac for the sole purpose of getting GarageBand, certainly. I would recommend getting a dedicated audio box that has decent drivers on either platform, regardless. They might fit your budget, give you needed flexibility, allow you to use a tool driven more by development needs than commercial ones, give you tools that would otherwise lack proprietary commercial niches, allow you to run (via Linux) on a wider variety of hardware or with greater low-latency performance, or allow you to contribute more directly to a project, from documentation to actual development.
I have some of my own thoughts on how to put this together, but first I wanted to share the input of these esteemed colleagues. Dave, an Ohio-based musician and teacher, is bar none the most invaluable writer when it comes to free software and music-making on Linux. I’ll cover more of that soon, but in the meantime, I took some notes as Dave walked through a current take on the software for Linux that most excited him. Now with LV2 – the next-gen open plug format, compatible with the likes of Renoise on Linux. Dave noted that you can and should install Ardour 3 alongside the stable Ardour, so you can test both. Dave credits the evolving state of LV2, and the work of its principle developer, David Robillard, for a lot of innovation in free software and Linux audio.
AVSynthesis couples visual output in OpenGL with the veritable Csound sound and composition engine. The first thing I do on the Mac is install JACK, and I find it every bit as invaluable atop Apple's superb Core Audio framework as it is on Linux. Ardour ain't pretty, but boy, I find it usable, especially with Mixbus, for some projects.
If you're dedicated to, say, a big Mac or Windows running with all your fave plugs, you go right on! Because everybody knows that there was never any good music made before plugins and computers came along. His list here was just, literally, what he happened to be showing off at a talk at Virginia Tech, so I'm sure he left tons of stuff out! I remember using Audacity to record a demo for my band back in 2004, since then I use Audacity for pretty basic stuff. But I would give anybody a warning who think that migrating a DAW system with native Windows plugins to Linux is a snap. For a small investment a person can use an Athlon XP system for tracking and synthesis with 64 sample latency. It's quite happy to sit there and just process audio in real-time without having to record any of it, and it has pretty decent MIDI control available, too.
If they’ve pulled it off, it could be more invaluable in your backpack than even your computer.
I'm in the market for a field recorder and this product would be able to fulfill that niche and a lot more! This would make a great partner for synced multitracking with something like a Microkorg or MPC1000, or even a Mopho.


Convenience and low cost are great, but those get more or less wiped away if you have to deal with the hassle of something that doesn't sound the way you need it to. With resampling becoming more important in music these days (instead of being a mostly sound design affair) it would have been logical imho.
If I could use this thing to lay down some tracks and have an easy tool to construct a song (or just have fun with it), then transfer the tracks to my DAW via SD card and use the R8 as a control surface – then I could get rid of my tape deck workflow, which has certainly a nice all analogue feeling to it and is a lot of fun but also has the drawbacks of an analogue workflow.
But those tools aren’t nearly as flexible when it comes to controlling other software. And while I don’t like the pads as well as on the Push and Maschine, it all feels reasonably good, the layout is definitely welcome, and the step sequencing functionality could really win users over.
Many people would rather just get started with making music with a well designed system like Maschine. Hologram is in that latter category, producing wild, synthetic effects that totally transform an input.
And you can sync to transport, with tempo and time signature automation, for some complex rhythms.
The resonator-type sound is stale to me, but it works well mixed with the dry signal to add funky harmonic content, or when you actually want the metal robot sound.
While music boxes are not new, the freedom to create your own tune, and have it 3D printed into a music box, is. Left Field Labs is creating a backlog of orders and will email when it is getting ready to do another print run.
This product has so many ideas going on at once, I lost count as to what those three were, but I would count them as effects, sampling, and dedicated DJ controller.
Pioneer has offered impressive effects before, but the only way to get at them was in high-end mixers.
On the other hand, it appears for fans of those effects, you could go in and do some customization of your own. And you get a lot of the nicer features of the higher-end Pioneer mixer effects sections without having to splurge on their whole mixer. The inner dial is a sphere that has three chronograph sub dials with black marks and an easily perceived date window that appears near the four o clock. The pink dial has double rectangular white indices at the six and twelve o clock as well as white ones on all the remaining hours. It is water resistant and works with quartz movement and would make a wonderful statement with a dressy business suit or work outfit, as it is somewhat more brazen in style, and thought not as feminine as the others, certainly powerful and bold.
Those improvements look promising; real-world performance is one of those things that makes the biggest difference in day-in, day-out use.
But the announcement comes at a time when a cloud hangs over the developer’s corporate entity. It seems there is a new engine users are happy with, but there would have to be something horribly wrong with the previous engine for the new one to be exponentially faster on the same hardware architecture.
Being able to accurately see this information it seems is a boon to mixing – not as a replacement to your ears, but certainly as a supplement. Audio rivals like MOTU and Steinberg lack the video products; Adobe lacks the music product. Following the latest round of restructuring and layoffs in the fall, Avid made the unorthodox announcement that it had to postpone its fourth-quarter earnings announcements because of uncertainty about its actual accounting in fourth quarter 2012.
It seems to me the uncertainty isn’t good for users, for employees, or for the industry. But there are additions you might expect in a bigger DAW: quick in-line access to track parameters, video preview frames at the top, elaborate time displays and editing tools.
There’s the rather sophisticated Studio Instruments Drums for some acoustic and electronic drum parts, making it easier to actually program your own patterns rather than rely on loops. It includes built-in sequencing capabilities, basic sound generators (themselves written in Csound), envelopes and modulation, the powerful MatrixSynthMod instrument, MIDI control, and effects (phasers, choruses, filter, waveguide filter, and so on). Some of the best demonstrate that free software can provide choice – not, as many believe, only compromise. But what about that lonely last-gen laptop that isn't doing anything – what if it could be pressed into service right alongside and help you generate new ideas, minus the distractions of those big, shiny tools? Of course you can make good music on Linux, but your choices are limited to either acoustic music or synth stuff. It can go well, it can fail (which is not uncommon) and even if you are successful, some changes in one of the involved software interfaces can f*ck everything up easily. You can use them to add a quick amp model and effects as you record your guitar, or add them live when the box is functioning as an audio interface.
That could be particularly attractive when you just want to turn the computer off and play with your hardware. Every fader, button, and pad can be configured to work with software or hardware of your choice. You can play on the pads, or use x0x-style buttons on the bottom, as on the original Roland TB-303. A program then translates your ‘clicks’ into plastic nubs, which is then 3D printed and placed into a raindrop shaped plastic container that is shipped straight to you -which means that your favorite tune is just a crank away. Now, you can buy this unit for a price that starts to make this look like high-end competition for things like a KAOSS Pad. Finally, there are three dials within the one circular dial that makes it a timelessly elegant piece. The square framed date window is near the three o clock position, so that all Michael Kors satchels of it is easy to read on this soft, luxurious watch that would look wonderful with a satin or velvet evening gown, or just be a slight touch of refinement with any outfit. With its Arabic numerals and dashes it is an elegant and old fashioned sort of piece that will make a royal statement when worn with anything. The engine rewrite is joined here by top-of-class video integration, benefiting from Pro Tools’ sister products in video at Avid.
And Apple seems asleep at the wheel as far as providing integration between the Final Cut Pro X engine and Logic – this is another painful reminder of how silent Apple has been about the DAW they once enthusiastically hyped. Cubase and Logic have been 64-bit for years, and have offered offline bounce since the early 2000’s when I migrated from Opcode Vision. And I see absolutely no reason that they can’t coexist with other popular proprietary options in your studio. Less options are better than more and we had attempts of universality before e.g Novation Automap. With its Japanese quartz movement, it is the perfect accent to a lady’s wardrobe and a most fashionable way to tell time. I think it’s painful for people who use (or develop) other DAWs to see Pro Tools lag on important functionality.
I could see a lot of use in loading 8 drums tracks on to it and working on that without any distractions. And you can do all of this while tethered to the computer or (if you get a power adapter) standalone. This person isn't worrying about gain-staging and routing matrix flexibility and low-latency drivers. But then again, I don't want to be seen as actually recommending that you take something created for Windows and only for Windows and attempt to run it on a different platform. Also, unlike past M-Audio hardware, all the editing is available right from the front panel – no editor software needed. The only bad news, really, is that you lose the dedicated eight knobs on the original Trigger Finger. The real MIDI port and true standalone capability make it extremely worth while to those that don’t want just another restricted software controller.




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