Music production
fromThe Atlantic
9 hours agoThe Guitar Sounds New Again
Mk.gee is a revolutionary guitarist whose debut album showcases innovative sounds, earning him recognition as a modern guitar hero.
The allure of the project is that the magnetic tape doesn't reproduce audio cleanly because the oxide coating introduces a slight instability in playback speed. But these are the 'flaws' that Iulius Curt is after, allowing the resulting sound to have that lo-fi warmth that's ideal for ambient listening.
In Braque's paintings, collages, and prints, the polymath set out to distill bucolic landscapes and rural village scenes as broken up and then re-assembled geometric compositions; decidedly abstract yet still slightly recognizable representations. Through this revolutionary approach, he examined how objects could be depicted from multiple perspectives-multiple sources of light-as if superimposed portrayals of the same setting rendered at different times of day.
The ring-like portable speaker has a lanyard that lets users hook it onto a backpack or simply carry it around the wrist. Another option is to wear it around the neck, turning the device into a personal stereo system that surrounds the user with sound while remaining lightweight and portable.
The vocoder was never supposed to be a revolution in music. Its development began a century ago, when an engineer at Bell Labs was looking for a simpler way to send phone calls across copper telephone lines.
The Bromley 450 carries over its larger sibling's 360-degree audio trickery. Like equivalents from other companies, Marshall's "True Stereophonic 360-degree sound" fools your brain into perceiving more directionality than its form factor allows. Lighting effects ("inspired by '70s stage shows") also carry over from the larger model.
The Phase8 uses a new form of "acoustic synthesis" that combines acoustic sound generation with electronic control. Takahashi says the synthesizer is "beyond analog vs. digital" and "beyond electronics" altogether. It features chromatically tuned steel resonators, which creates an acoustic sound similar to that of a kalimba. These signals can be manipulated via onboard effects and sequenced like a traditional synthesizer. Here's a video of the synth in action.
First of all, it offers four times the processing power of previous MPCs, which is enough to load up to 32 virtual instruments at the same time. This is assisted by a full 16GB of RAM, which is a whole lot in this era of AI tomfoolery. The XL can handle 16 audio tracks simultaneously. In my experience with previous units, this is more than enough for a full song.
Casio showed up to NAMM (CES for music gear nerds) this year with a prototype sampler called the SX-C1 that looks every bit the lovechild of a Game Boy and an SP-404. The top has a directional pad and four buttons just like you'd find on a game controller, flanking a 1.3-inch OLED screen. But at the bottom, there are 16 rubberized pads for triggering samples with crunchy pixelated number labels on them.
Pitch Shifter-910 is based on the iconic Eventide H910 Harmonizer from 1974, an early digital pitchshifter and delay with a very unique character. Arturia does an admirable job preserving its glitchy quirks. Pitch Shifter-910 is not a transparent effect that lets you create natural-sounding harmonies with yourself. Instead, it relishes in its weirdness, delivering chipmunk vocals at the higher ranges. There is also a more modern mode that cleans up some artifacts while preserving what makes the 910 so special.
What's wild about this jump in stamina is that it's disproportionate to the battery's capacity. The Kilburn II ships with a 5,200 mAh cell, while the new model is only about 5% bigger: 5,500 mAh. Clearly, some big efficiencies have been gained.
The unit can run on three AA batteries (a set is included) or on the included USB-A to DC adapter (you'll need your own wall charger). The included instruction manual helps you make sense of what the heck all the knobs, levers, buttons, and lights mean.
We tend to think AI music tools are just gimmicks for social media creators, or that they're limited to basic beats. But it's hard to dismiss them when companies like Google, Meta and Stability AI are pouring resources into generative audio models that can produce full compositions in seconds.
For this time around, however, the concept player here stays within the audio listening gear domain; nonetheless, has clear signs of a TE-inspired design. The retro Bluetooth player is a music accessory that's reminiscent of the classic cassette tape player design, but on the inside, it's a modern music player that plays music wired or wireless. The aesthetics are purely for arousing the nostalgic feel of listening to music on a cassette player, while the audio is digitally played via a DAC for high-resolution output.
Roland now offers a more capable audio mixer for phones and tablets with the launch of the Go:Mixer Studio. The Go:Mixer audio interface lineup has always been a bit limited, better suited for scrappy live streams and capturing quick demos on their phones than professional recording. The Go:Mixer Studio is an attempt to actually reach that lofty goal, with more inputs and outputs, built-in effects, and up to 24-bit / 192kHz audio.
Junho Park's graduation concept borrows all the right cues from TE's playbook, that modular control layout, the single bold color, the mix of knobs and buttons that practically beg to be touched, but redirects them toward a gap in the market. Where Teenage Engineering designs for people who already understand synthesis and sampling, the T.M-4 targets people who have ideas but no vocabulary to express them.
Chances are this does exactly what you need. It will play your old CDs, your new CDs, your homemade mixtapes, the whole nine yards. You can even listen wirelessly thanks to onboard Bluetooth. It's got a decent battery life that can last you up to six hours, and it uses a USB-C to recharge. We usually have one of those on hand.