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This section includes compiled posts from some of Lars Behrenroth's favorite (Deep) House and Tech blogs.
Copyright to each post is owned respectively by the author and issueing website.

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Alchemy synth is now a part of Logic Pro X; here’s what’s new


Logic Pro has a new flagship synth instrument. And that synth is no basic pack-in – it’s one of the deepest software instruments on the market.

It’s also no stranger. As expected following Cupertino’s acquisition, Alchemy, a deep “sample manipulation” synth, has made its way into Apple’s product line. It’s now everywhere on the Mac desktop. Even in GarageBand, you can access Alchemy-based presets. In Logic Pro X, and even MainStage, you can access the full instrument. (That means the $49 MainStage is now also a heck of a steal if you just want the synth.)

(I do say desktop – there’s no sign of Alchemy on iOS at this time. On the other hand, if those “iPad Pro” rumors are true… well, I’ll let you fantasize about that; Apple of course won’t tell me anything.)

If you’re just looking for a sound quickly, you can mess about with transform controls and pull up a wide range of presets. If you want to go deeper, you have an instrument that does additive, spectral, formant, granular, sampling, and virtual analog synthesis. In fact, I can’t think of another single instrument that does quite as much all via one interface.

Logic Pro X 10.2, available as a free App Store upgrade or for instant purchase, includes a raft of other improvements. And Alchemy itself hasn’t just been shoved into Logic’s interface – there are some significant additions there, as well. Let’s have a look:

A new Alchemy

It’s not just Alchemy inside Logic Pro X 10.2. This is officially Alchemy 2.0, a major update. For those of you familiar with the instrument, here’s some of what’s new:

Better morphing. Advanced cross-synthesis now improves audio morphing, incorporating all the details of the sound (additive, spectral, formant, pitch, envelope). You also get more options in the interface.

More precise additive resynthesis, spectral resynthesis. These are really a big part of what sets Alchemy apart, and they’re vastly expanded. There are more additive effects (Pulse/Saw, Harmonic, Beating, Stretch, Shift, Magnet, Spread, Auto Pan). And you get more precise control of both additive and spectral resynthesis – the algorithms themselves have been sonically improved, we’re told. And there’s a new partial tracker, you have more editing options, and you can see everything you’re doing via real-time spectrogram. Spectral resynthesis also works in stereo now, as well, and supports masking.

Powerful formant and granular modes. Loads of depth here, too, including elaborate controls for formant resynthesis (with multiple filter shapes), and multi-tap granular controls you can space out across a stereo field.

Added pitch correction. Correct pitch to unison, octave, fifth, a combination of fifth/octave, or chromatically, with adjustments for amount and speed.

Use the sampler with EXS24. You can now import Logic’s EXS24 sampler instruments directly into the Alchemy sampler, meaning access to Logic’s own library and lots of third-party content. The Sampler module itself is also more powerful, with a reverse mode, automatic keymapping, and new keymap editor and group editor.

Bring the noise. The virtual analog side of things is expanded, too – sync, anti-aliased PWM, waveform shape display, and a noise section with 13 noise types (not just white and pink).

New filters. These are all-new, with both enhanced comb filters, and redesigned analog filter emulations, plus added “Bee,” FM, Compressor, LP10 and HP10 modes.

Modulation and arpeggiators that are kind of insane. Alchemy adds per-source arpeggiators and reorganized editors for source controls and the arpeggiator. And you can modulate all kinds of things. You can switch patterns with modulation (yipes, one-note presets, anyone?), modulate the rate knob, modulate keyswitches, and see visual feedback in real-time.

Envelopes with more power. You get graphical AHDSR with tempo sync. And there are envelope followers at eight points in the signal chain.

More samples and easier browsing. Alchemy now has 3100 presets plus 300 Logic patches, and a 14 GB sample library. (Fortunately, that sample library is an optional download from the store, just like other extended Logic content.) To navigate all of the included content or manage your own sounds, there’s a redesigned browser with expanded drag-and-drop support.

Dial-in controls if you want to improvise / don’t want to get too deep. Alchemy’s X/Y pads and transforms already resembled Apple’s own work on making Smart Controls. The idea: give people a few knobs to dial up variations on much deeper sound engines. So, little surprise here: Alchemy will be fully integrated in the Logic interface, which means access from those Smart Controls and the accompanying iPad app remote.

But it’s more efficient. Apple says they’ve reduced CPU usage.

All in all, this is pretty huge – the biggest synth news to come to Logic in years. And while Apple could have just dropped Alchemy in Logic and called it a day, it’s nice to see a vastly expanded release.

And yes, this means one more big update from Apple that can cater to the explosive market for young EDM producers, particularly in the USA but worldwide, as well.

Nice how a musical genre suddenly created a demand for massively-complex synthesizer modulation.

A more connected Logic

The other news is, Logic Pro X does more than before when connected to the internet.

From Apple, there’s expected Apple Music Connect support, which lets you publish directly to Apple Music from inside the app. (Previously, this was available only in GarageBand.)

But more interestingly, there’s also built-in support for Gobbler. Once you sign up for a free subscription with Gobbler, you can back up, share, and collaborate directly from within Logic. That’s a big deal for both Apple and Gobbler – there’s never been cloud integration like this in a major DAW.

Our friends at Gobbler have a video of that, above.

And lots of other pro improvements…

10.2, as is typical of Apple’s recent pro music update cycle, adds a lot of functionality and fixes, too.

There’s Force Touch trackpad support for the latest Apple laptops – a reminder that Apple is the one DAW maker that’s also in the computer business.

There’s expanded MIDI functionality, including expanded clock options.

You can non-destructively reverse audio regions. (Ah, I love this, as a reverse-addicted person.)

You can globally nudge by key command to note values. (I like that, too.)

And there are lots of editing improvements, including finally showing fades correctly on regions that have been ‘flexed,’ better editing options for different Cycle settings, and some nice features for locators and markers.

There are many more tiny details, fixing minuscule quality issues and making editing easier. This is the sort of attention to detail that we desperately need in our aging stable of big DAWs, and we don’t always get it. So I’m eager to try it out and see how it’s feeling in practice.

I’ll say this: Logic may not be your favorite DAW. Heck, you might even actively dislike it. But what I can’t get from using it is any sense that the pro music team at Apple is uninterested in serious users. If you transported someone from fifteen years ago and sat them in front of what you told them was Emagic Logic Pro X alongside some of its competition, they’d be none the wiser. (They might wonder where their Windows version was, but apart from that.)

Of course, as always, many of these enhancements also carry over to GarageBand and MainStage.

The post Alchemy synth is now a part of Logic Pro X; here’s what’s new appeared first on Create Digital Music.

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*PREMIERE* Keira – No Identity (Original Mix) Ampispazi

From the new Ampispazi Summer Camp compilation we’ve got the premiere of Italian born-producer Keira’s ‘No Identity’ track in all it’s full glory. The classical guitarist turned ...

The post *PREMIERE* Keira – No Identity (Original Mix) Ampispazi appeared first on Knights Of The Turntable.

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Windows startup sounds transformed into amazing ambient music

Microsoft celebrated the 20th anniversary of the release of Windows 95. But the best part of all of this may be this oddly eerie, beautiful set of ambient tunes, slowing down the best-known Windows branding by 4000%.

This is what Brian Eno sounds like when you Brian Eno-ify Brian Eno.

While we’re at it, it’s worth revisiting some of the startup sounds over the years.

Brian Eno is best known for his contribution to Windows 95. To my mind, it’s the best of the startup sounds. Eno described the brief as “inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental [and] emotional” — and gave Microsoft twice the length they asked for, true to form. Not 4000%, only 200%.

Tom Ozanich and Bill Brown composed Windows XP and the associated sounds (with Emmy winner Ozanich working on orchestral samples. Brown is the composer behind CSI:NY and Any Given Sunday with a long game resume including Wolfenstein.

The legendary Robert Fripp famously contributed to the infamous Windows Vista for a cheery tune for that OS that has stuck with subsequent releases, working alongside Tucker Martine and Steve Ball of Microsoft.

Other sounds were developed in-house. My experience of the audio team at Microsoft over the years with my brief contacts with them has been that they’re musicians like us – and often know their way around a Mac, too. (Apple machines do show up in Microsoft’s offices now and then.)

I certainly want to wish a very happy birthday to Windows, or, erm, to Windows95. (Hey, I used Windows 3.x, too – and made some music on it!)

I never get tired of computers. For all the bitching and moaning – what wondrous machines we have on our desks, that allow us to make sounds we’ve never before imagined, and meet people who love what we love from the other side of the world. (Where’s Louis C.K. when you need him?)

Here’s a wonderful compilation of still more Windows sounds… Ah, the magic of time. All those years of things breaking just fade nicely into nostalgia.

The post Windows startup sounds transformed into amazing ambient music appeared first on Create Digital Music.

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Ticket Giveaway!!! Prototype018 w/ David August ‘Live’ & Droog


After special performances by Howling & Âme at their July event, Culprit & Prototype continue the Live show theme by inviting another hugely intriguing artist – David August. A Hamburg-based producer and live act, August is one of a rare breed in dance music, who combine genuine and classically-honed musical skill with mastery of analogue machinery. Throw in a dash of mystique and charisma and you have a young man on a fast track to credible stardom.

David August’s origins lie within his hometown’s most well-known imprint, Diynamic. Taken under the wing by the label’s leader Solomun while still a precocious teenager, David August was given a chance to develop his signature style over the past 5 years. This search culminated in David’s debut concept album “Times” in 2013. Its musicality had tremendous depth and showed flair for melody and rich textures. August’s big arrival was confirmed with the release of the “Epikur” EP for the Innervisions label early last year.

Over the last few years David has developed a memorable live set, which he now plays exclusively, having left DJing behind. A gifted pianist, he combines real improvisation with a fierce understanding of dancefloor dynamics. After the impressive Boiler Room and RA Sessions performances, the demand for David’s live show is at fever pitch. He is now setting off on his first world-wide tour, making his first ever stop in Los Angeles with us, on August 28th.

Culprit’s hosts and residents, Droog, gather back in LA after the summer of travels that have taken in various parts of Europe and Asia. Their DJ sets will bookend David August’s headline Live set.



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The post Ticket Giveaway!!! Prototype018 w/ David August ‘Live’ & Droog appeared first on Music is 4 Lovers.

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Get dedicated hands-on control of your Ableton Live set with DDC

So, we all know we’d like to get our hands on software music making with something other than the mouse. Now — how? How do you actually make that physical knob or button do something useful on screen, and at the right moment?

There’s the brute-force method, manually applying MIDI learn. There are fancy dynamic ways of assigning controls. But the former is inflexible and requires extra work, and the latter means that you typically can’t “lock” every control where you need it. (That is, the automatic methods sometimes “outsmart” you to the point of not allowing you to do what you wish.)

DDC – “Dedicated Device Control” – is a solution for Ableton Live that finally keeps controls mapped to specific software without sacrificing flexibility.

It comes in several parts:
1. MIDI Remote Scripts (this means it doesn’t require extra software running or Max for Live)
2. An editor for making your assignments.
3. A capture tool for use with third-party plug-ins and Max for Live devices (that is, not just internal Ableton Devices and Racks).
4. A repository full of controller files to get you started.

The bundle costs US$17.50 and requires Live 9.1.2 or later (though it doesn’t need Max for Live or Suite), plus the (free) Java runtime.


What sets it apart?

  • Your mappings open in any set, automatically – you don’t have to do anything to existing sets.
  • It maps to the first instance of a device on any track.
  • You can have several pages of assignments.
  • You can control multiple devices.
  • Up to 32 encoders, 32 buttons (toggle/momentary) – and for each of six devices.
  • Control LEDs, too, for color feedback.

It’s the best of both worlds. It’s automatic – you instantly get control of specific devices without modifying your sets and without manually taking control. But it’s not too automatic – you still get the muscle memory-enhancing power of keeping things assigned, and the power to choose what assignments and pages you want. That would appear to make it really invaluable for live performance, in particular.

I’m giving this a try, but couldn’t wait to write it up. More like this, please.


Thanks to nerk for this one!

The post Get dedicated hands-on control of your Ableton Live set with DDC appeared first on Create Digital Music.

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Nachtiville Announces Second Wave Of Artists

nachtiville 2

Nachtiville, the Dutch sister of the German Nachtdigital festival has just announced the second wave of artists for their upcoming debut in De Eemhof, a bungalow park in the . The second lineup announcement for Nachtiville further undermines the musical approach of the festival’s inaugural edition. Spanning from Techno to Ambient, Nachtiville, much like Nachtdigital, combines well-proven favourites with up-and-coming talent . The latest additions to the list of merited legends includes Radio Slave and Optimo as well as Atom TM & Tobias – the latter will perform one of their rare collaborative live sets.

See also: JP Enfant Mixtape | Interview: Optimo

The yearly returning Nachtdigital is known for being a favourite festival for German and Dutch dance connaisseurs, each year the core line-up revolves around the pure selectors and radical b2b sets (this year the b2b’s of Prosumer / Ben UFO and I-F / Helena Hauff provided the memorable highlights during the weekend-long festival). For their Dutch debut going by the name of Nachtiville, the programming will be equally rewarding for those lovers of the more leftfield spectrum in dance.

Showcases form an important part of the program for the event which is to take place on November 13th (with Giegling and Workshop already announced), marking cornerstones of what is to be expected. Intergalactic FM show up with a true all star lineup: Head of the gang I-F will be joined by Gesloten Cirkel, Intergalactic Gary, Legowelt and Xosar. The Ambient stage will be graced by a delegation from infamous Hamburg club Golden Pudel, bringing a handful of its residents to De Eemhof.

nachtiville      De Eemhof

On a different stage, festival curator and founder Steffen Bennemann will be introducing some personal picks in the form of LET founder and former Trouw resident JP Enfant, former Trouw resident Luc Mast and Nous’klaer Audio wonderboy Mattheis will all appear alongside rising New York treasure Aurora Halal. Further acts on the bill include Dutch techno/bass hybrid Martyn as well as more blissful ambient by OneTake, Thomas Schreiber and Randweg. With this second wave of acts the official part of the lineup is complete. Rest assured though: There is still some room for little surprises to be discovered at the event itself.

API (Arif Malawi & Chris Helt) | Atom TM & Tobias | Aurora Halal | Ben UFO | David Cornelissen | Dekmantel Soundsystem | Dollkraut | Head High | Job Jobse | JP Enfant | Lena Willikens | Luc Mast | Manamana | Martyn | Mattheis | OneTake | Optimo | Radio Slave | Randweg | ROD (Benny Rodrigues) | Sandrien | Steffen Bennemann | Thomas Schreiber | ATEQ | DJ Dustin | Kettenkarussell | Vrilski (Vril & Voiski) | Intergalactic FM: Gesloten Cirkel | I-F | Intergalactic Gary | Legowelt | Xosar | Workshop Records & Family: Benjamin Brunn | Even Tuell | Lowtec (Jens Kuhn) | MM/KM (Mix Mup & Kassem Mosse) | resom | Alex Solman | C (F#X & Nika Son) | Good News | Nina | Ralf Köster | Superdefekt |

November 13 | Nachtiville | Tickets | De Eemhof |

nachtiville 1

The post Nachtiville Announces Second Wave Of Artists appeared first on Deep House Amsterdam.

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