Tag: Arturia

  • Arturia DrumBrute – First Impressions

    Arturia DrumBrute – First Impressions

    For this Holiday season’s gift to the studio, I decided on the Arturia DrumBrute. An analog drum synthesizer and sequencer, the DrumBrute simply demands to be played, considering its host of performance features and a classic drum machine sound, ala the TR-808 and TR-909 — all at a street price of $449. More esoteric functionality like polyrhythms and individual track outputs round out a great kit, worthy of interest to anyone creating Berlin School or electronica compositions.

    Arturia DrumBrute
    The Arturia DrumBrute. Photo by Author.

    Read on to see if the DrumBrute belongs as part of your studio setup.

    Arturia DrumBrute Features and Functionality

    Anyone familiar with an old school drum machine should feel comfortable with the layout of the DrumBrute. 12 velocity-sensitive pads allow beats to be entered in a kinetic fashion, or you can simply jam along with an existing pattern. There are 17 different sounds on the DrumBrute, so five of the channels sport toggle buttons to switch between two sounds.

    These 12 channels all include level knobs as well as other controls; the majority of them are pitch and decay. There is no panning, as the DrumBrute is a mono device, but when connecting one of the 12 individual outs, that sound is removed from the main output. This is a great feature, especially if you have a dedicated mixer to pair with the drum machine.

    16 step buttons allow patterns to be programmed or edited either on the fly or in step mode. When combined with the Last Step button, you are able to vary the amount of steps in a pattern from 1 to 64. As mentioned earlier, there is a polyrhythm mode that allows each track in a pattern to be in its own time signature. B’b’b’b’boom!

    The DrumBrute stores 64 patterns in its memory. These are accessed using the Bank button (there are four) along with one of the step buttons. Song mode lets you string up to 16 patterns in a specific order; the drum machine memory stores 16 songs.

    In addition to the previously mentioned audio outs (two headphone jacks as well!), the DrumBrute includes 5-pin MIDI I/O, clock sync I/O, and a USB port. Expect more on this functionality in a future article.

    The Live Performance Features of the DrumBrute

    Featuring a host of intuitive live performance functionality, the DrumBrute is simply fun to play. The built-in filter has low-pass and high-pass modes and includes the standard pair of cutoff and resonance knobs. A looper strip lets you play a smaller section of a pattern in real time; it is also used to program drum fills when creating patterns.

    The Randomness knob is also a blast, and works as expected considering its name. Expect beat tweaking, including changes to notes and velocity, as you turn the knob. The Swing knob works in a similar fashion. Both knobs feature a Current Track button which lets you apply the effect to only one track within a pattern.

    A global tempo knob with a tap tempo feature is another important DrumBrute control. Within a song, it is also possible to use patterns each with their own tempo.

    If you are in the market for a drum machine, the Arturia DrumBrute needs to be in your wheelhouse. It sounds great, with its classic analog drum machine tones holding their own in a synth-heavy mix. Running it through the Electro Harmonix Deluxe Memory Boy delay and Hotone Skyline chorus sufficiently puts things over the cliff!

    Expect a trip into its deeper functionality, including syncing (it’s compatible with the Korg Volcas among other devices), in an upcoming TabMuse article or two.

  • Virtual Dispatches from Musikmesse 2014 and Other News

    Virtual Dispatches from Musikmesse 2014 and Other News

    Musikmesse, held in Frankfurt, Germany, is the European equivalent of the NAMM industry show, and an opportunity for me to lust a foamy froth over new music equipment innovations from across an ocean. Now TabMuse’s budget doesn’t yet allow for a quick jaunt over the sea to attend in person, but I’ve been paying attention to coverage from other sources, and there are a few items that definitely pique my interest.

    Waldorf Streichfett
    Waldorf’s Streichfett is all its creamy glory. Photo copyright Waldorf.

    Let’s take a look.

    The Akai Rhythm Wolf — an Analog Drum Machine under $200

    The Akai Rhythm Wolf, an analog drum machine and bass synthesizer with a street price of $199.99, threatens to steal the thunder from Roland’s AIRA series. This device might be showing up in our studio shortly, if I can convince Quarkspace’s Jay Swanson to add it to his sonic arsenal. Boy needs some analog.

    Five simultaneous drum voices are possible: kick, snare, hi-hat (open and closed), and metallic percussion. The bass synth switches between sawtooth and square waves and provides a resonant filter with an envelope allowing for some proper acid bass tweakery. The built-in 32-step sequencer hopefully lets the users change the time signature (a common refrain from me).

    Six MPC pads, a ton of control knobs, and a full range of USB/MIDI connectivity round the Rhythm Wolf’s specs. The device is expected to hit the market later this summer. Can’t wait!

    Waldorf Streichfett channels the Classic String Synths of the 70s

    Waldorf releasing a tone module capable of the classic, milky string synth sounds of the 70s is one of Musikmesse’s biggest surprises. Cue Incomurdo, Hymn to the Atman.

    The Streichfett features a straightforward user interface centered on an “Ensemble” button capable of kicking the sound into creamy overdrive. Bass, electric piano, and clavinet sounds can be mixed into the overall milk-coma, adding a bit of punch. Reverb and phasing offer some effects to the final equation.

    12 user patches are stored in the unit, which also provides USB and MIDI connectivity. The Streichfett is expected to be available later this spring — hopefully in the US as well as Europe. The street price comes in at 235 Euros.

    Arturia KeyLab 88 — an Impressive Weighted Keyboard Controller

    While no longer in the market for 88 key weighted keyboard — we just bought a Yamaha MM8 a few months ago — Arturia’s new KeyLab 88 controller almost makes me regret that decision. Primarily known for the excellent software synths — including the iMini and iSEM on the iOS platform — recently Arturia is also garnering praise for their hardware.

    The KeyLab 88 looks to be a superior controller with a host of knobs, sliders, and pressure sensitive pads for virtual synth control. It also comes with their Analog Lab virtual synth with over 5,000 presets. It is expected to hit the market later this summer with an as of yet undetermined price.

    DM1 — a Top iOS Drum Machine Gets an Update

    Fingerlab’s DM1 is arguably my favorite iPad drum machine app. Yes, I argue with myself. A great interface, great sounds, odd time signatures — what more could one want?

    A fresh update to DM1 adds Inter App Audio functionality as well as 12 new drum kits. This is a highly recommended iPad beatmaker; check it out at the App Store for $4.99. There’s even an iPhone version too.

    A knob twist to the cool folks at Synthtopia.

  • Review: The Arturia iMini brings the Classic Bob Moog Sound to the iPad

    Review: The Arturia iMini brings the Classic Bob Moog Sound to the iPad

    iMini was Arturia’s first foray on the burgeoning iOS music app platform. It features a dead-on audio simulation of the classic Minimoog, arguably the most popular analog synthesizer in history. In true Arturia fashion, iMini also adds a host of useful features not included in Bob Moog’s classic piece of musical art.

    iMini for the iPad Features

    • Classic Minimoog Sound
    • 3 Oscillators
    • Classic “Moog Filter”
    • Filter and Amp Envelopes
    • Polyphony
    • Arpeggiator
    • White and Pink Noise and an “External Input”
    • Chorus and Delay with X-Y Control Pads
    • Support for Audiobus, WIST, and Inter App Audio
    • Available at the App Store for $9.99

    Fans of the Minimoog or even fans of Arturia’s Mini V desktop synth need to check out iMini. It truly is one of the best synth apps on the iOS platform.

    Classic Moog Sound with a Modern Interface

    The iMini features a similar, easy-to-use interface as Arturia’s iSEM synth app. A menu bar at the top provides patch management, navigates between the different screens, and also allows access to MIDI and Inter App Audio functionality. It feels like a strange, modern version of a Minimoog.

    Arturia iMini Screenshot 1
    Arturia’s iMini is a dead-on simulation of the Minimoog for the iPad. Screenshot by Author.

    The first screen essentially provides a scrunched view of the original Minimoog. Control of the three oscillators, mixer, and filter all happens here. A bit of the wood-panel view offers a welcome piece of skeuomorphism — take that iOS 7.

    A noise generator — with white and pink options — as well as an external input can be mixed into the overall sound. A simulation of the classic Moog filter is present with its own envelope in addition to one for the amplifier.

    Arturia iMini Screenshot 2
    An arpeggiator and two X-Y pads for parameter control offer functionality not in Bob Moog’s original design. Screenshot by Author.

    The “Perform” and “FX” screens change up the design of the Minimoog by adding some use functionality, including an arpeggiator and two X-Y pads to control synth and effects parameters. Virtual analog delay and chorus effects round out the sonic architecture of the iMini.

    A Modern Take on a Classic Synth

    Support for Audiobus, Inter App Audio, and WIST remind us that we are using an iOS music app. In fact, iMini also supports the Tabletop iOS virtual music studio; something not included with Arturia’s iSEM app. MIDI mapping of controls is easy — typical of Arturia synths no matter the platform.

    Fans of Bob Moog, classic analog synths, or anyone involved in contemporary spacerock or electronica are the audience for the iMini. This is one synth app that stands at the pinnacle of iOS music apps. Highly recommended.

  • Review: The Arturia iSEM puts Oberheim on the iPad

    Review: The Arturia iSEM puts Oberheim on the iPad

    Originally known for their excellent software plug-ins spanning a variety of analog synthesizers from the 70s, Arturia has recently branched out into hardware synths, controllers, and drum machines in addition to the first iOS versions of their software products. Their iSEM app for the iPad is great rendition of Oberheim’s first commercial synthesizer, the SEM. The app features a great sound, a modulation matrix, and a timed voice programmer adding a measure of motion to synth patches.

    Arturia iSEM for the iPad Features

    • Two Oscillators (Saw, PWM) with Sub OSC
    • Polyphonic Support
    • VCF, VCA with Two Envelopes
    • Arpeggiator, and 8 Voice Programmer
    • Overdrive, Chorus, and Delay
    • 8 x Modulation Matrix
    • Support for Audiobus, Inter App Audio, Core MIDI and WIST
    • Available at the App Store for $9.99

    The iSEM is excellent enhancement of the original Oberheim model. It’s an easy to use app with that great virtual analog sound typical of Arturia’s desktop synths.

    A Unique Synthesizer Architecture

    The iSEM interface beautifully represents an expanded version of the original SEM. Anyone familiar with Arturia’s desktop plug-ins or their iMini iOS app will feel right at home. A menu bar at the top of the screen handles patch management, screen navigation, in addition to MIDI and system connections.

    Arturia iSEM iPad Screenshot
    The Arturia iSEM features a great interface reminiscent of Oberheim’s classic SEM synth. Screenshot by Author.

    The main screen features the VCO, VCF, SUB OSC and envelope sections. The arpeggiator and effects can also be controlled from this screen in addition to others throughout the interface.

    Dual oscillators are syncable, with two knobs to control their frequency. There are separate knobs for the pulse width percentage as well as for changing between frequency and pulse width. The latter can also be modulated using the envelopes or LFOs, allowing for an interesting array of “living” sounds.

    An easy-to-use 8 channel modulation matrix takes up the next screen. The sources include the obvious: LFO, Envelopes, Pitch Bend, Mod Wheel, Velocity, and a recent app update added Aftertouch. They control a rich variety of synth parameters.

    I had the most fun with 8 Voice Programmer section. When synched to the arpeggiator, it is possible to modulate a host of synth parameters in time, adding greatly to the sense of motion in a synth patch. It is also possible to switch off certain voices, giving the feel of an arpeggiated run in an odd time signature.

    Other screens provide more precise control of the effects and arpeggiator. The “Perf” screen also features four programmable sliders that can be assigned to a wide range of synth and effects parameters.

    Support for IAA, Audiobus, and More

    Support for most iOS music app standards includes Audiobus, Inter App Audio, WIST, and Core MIDI. My Griffin StudioConnect easily controlled the app using a MIDI keyboard. Control mapping was a breeze using the app’s MIDI LEARN function.

    The iSEM cut through nicely through an entire band mix and inspired us into some interesting electronic spacerock improvisation that will see the light of day some year.

    Arturia’s success in software synthesis translates nicely to the iOS platform and the iPad’s screen. Here’s hoping an iCS-80 or an iARP2600 is in their development pipeline. The iSEM is recommended for fans of Oberheim’s bass heavy analog synth design and for anyone interested in classic virtual analog synthesis on a tablet.