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techniktagebuch · 1 year

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April 2023

Die elektronische Blockflöte, Teil 1

Ich habe nicht viele besondere Fähigkeiten auf der Welt, und eine davon ist Blockflöte spielen, so richtig gut, beinahe semi-professionell. (Nur damit man mir das auch glaubt, ich bin der Blockflötist ohne Haare.) Leider ist es eine Fähigkeit, mit der man nur sehr sehr selten angeben kann, so wie Jonglieren, deshalb erwähne ich es fast nie. Damit ist es jetzt vorbei, denn seit einer Woche besitze ich eine elektronische Blockflöte, die zudem knallrot ist.

Der re.corder von Artinoise ist meines Wissens die erste Blockflöte, die erstens komplett akustisch funktioniert (also mit Bohrung, Labium und Luftsäule), aber außerdem komplett digital. Dazu steckt man ein kleines Plastikding auf die Schneidekante (im Bild: das transparente Ding zwischen Mundende und Tasten). Damit verstummt das Instrument. Dann installiert man eine App aufs Handy. Dann koppelt man App und Flöte via Bluetooth. Und ab dann kommen die Töne aus dem Handy. Die Flöte hat Sensoren für alle Löcher und für den Atem, und schickt all das ans Handy (und zwar verwandelt es sich in einen MIDI-Controller).

Rein digitale Blasinstrumente gibt es schon länger (z.B. den eCorder oder Rolands Aerophone), aber sie sind deutlich teurer als der re.corder und können nicht zusätzlich akustisch spielen. Der re.corder ist wie eine elektrische Zahnbürste, wenn der Akku alle ist, kann man immer noch ohne Strom weitermachen. Man kann ihn übrigens auch ohne Atem spielen, oder als eine Art seltsames Klavier verwenden, falls man das möchte.

Für mich besteht der wesentliche Vorteil der elektronischen Blockflöte in der Option, mit Kopfhörern zu spielen. Im Jahr 2016 hat der Kopfhörer mich zurück zum Klavierspielen gebracht. Jetzt erhoffe ich mir ähnliches für Blasinstrumente. Mit einer Blockflöte zu improvisieren ist eine sehr angenehme Nebentätigkeit, zum Beispiel bei Zoom-Meetings (bei abgeschalteter Kamera). Seit ich den Hund habe, geht das nicht mehr, weil er die Obertöne nicht gut findet. Der re.corder dagegen ist ihm egal.

Zurück zur Praxis: Die spezielle re.corder-App funktioniert zunächst einwandfrei. Die Bluetooth-Paarung hat wie immer ein paar Haken, aber nicht viele. Und innerhalb von Sekunden kann ich nicht nur Blockflöte aus dem Handy spielen, sondern auch Klarinette, Saxophone und Oboe. Und Trompete! Mein Kindheitstraum, ein kleiner Trompeter zu werden, wird endlich wahr. Außerdem Orgel, was eine interessante Geräusch-Bild-Schere erzeugt. Hier eine kurze Vorführung mit Blockflöte, Oboe, Trompete, Orgel; für dieses Lied habe ich die Klavierbegleitung vorher auf dem elektronischen Keyboard eingespielt und dort aufgezeichnet. Leider ist mein Pianist nicht besonders kompetent. Er kann nicht mal den Takt halten.

Mir wird sehr schnell klar, dass die elektronische Blockflöte nicht einfach nur eine Version des alten akustischen Instruments ist, sondern etwas völlig Neues. Ich spiele viel leichter, mit ganz sanften Fingerbewegungen, und säuselndem Atem, ein bisschen wie Blockflöte mit Servolenkung. Andererseits kann man die gerade nicht benötigten Finger nicht einfach irgendwo hinlegen, sondern muss sie weit weg von den Sensoren halten. Der Ansatz muss deutlich präziser sein als bei der grobschlächtigen Blockflöte. Wenn man eine Weile mit dem re.corder übt, dann kommt man hinterher nicht mehr besonders gut mit der akustischen Flöte klar. Es ist eben ein völlig anderes Instrument. Und natürlich kann man beim re.corder alle Parameter der Sensoren verstellen. Den Fingersatz auch. Den Stimmumfang auch. Bisher verstehe ich nur einen Bruchteil dieser Funktionalität. Noch ein Vorteil: Der Re.corder ist nie verstimmt, und wenn doch, dann kommt er durch Neustart wieder mit sich und der Welt ins Reine.

Die Handy-App ist natürlich nur der erste Schritt ins elektronische Blockflötenuniversum. Als nächstes wird das Ding mit dem Macbook gepaart, und dann kann es ganze Orchesterstücke einspielen. So wie hier vom Blockflötenprofi James Howard Young demonstriert. Oder einfach alles, was sich digitalisieren lässt. Ich könnte das Heulen meines Hundes auf der Blockflöte imitieren.

Stay tuned!

(Aleks Scholz)

#Blockflöte #Musik #re.corder #MIDI #Bluetooth #Aleks Scholz #Musikinstrument #best of

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dontlookdown · 1 year

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Nick’s Favourite Music of 2022

Those who have followed my work for a while know that I usually start the new year with a collection of reviews looking at my favourite songs of the year. This year, I’m only doing the one post. If my experience with burning out halfway through last years’ list taught me anything, it’s that I can’t commit to the traditional series of twenty-plus blog posts when I know full well that I don’t have the time or the energy to see it through. Maybe things will be different next year. For this year, I’m happy to compromise.

Below, you’ll find the list of my 20 favourite songs of 2022 (YouTube links in the headings, Spotify embed at the bottom), along with a few words about why I love each particular one. Let’s go!

Röyksopp – “Speed King”

I started putting this playlist together with the first and last tracks already in mind, due to their lengthy runtimes. Normally, I’d kick things off with a true opener, something loud and driving. Despite its name, “Speed King” is not that. It’s a slow, electronic burn that builds into something truly formidable. My immediate reaction upon first hearing it was “This is the Daft Punk track I’ve been waiting for since 2005,” but that backhanded compliment ignores how the way the bassline steadily bubbles away in the background is pure Röyksopp, a hallmark that you’ll find throughout their work. The duo released three albums over 2022 and, while there’s great songs on all three (especially the tracks featuring Alison Goldfrapp and Susanne Sundfør), they saved the best for last.

††† (Crosses) - “Procession”

We’re going to stay in a low-key mood for a bit with the next two songs. Considering how I fell in love with Deftones in 2020, it seemed right that I should check out Chino Moreno’s side project when they re-emerged with their first new material in nine years. The PERMANENT.RADIANT EP turned out to be the perfect taster for this group’s softer, more atmospheric sound. I particularly loved “Procession”, which is the perfect showcase for Chino’s distinct voice and a show-stopping bassline that kicks in at 2:40.

The 1975 – “About You”

I find it difficult to pin down my feelings about the 1975. They’re a band I always want to keep at arm’s length, and yet they’ve ended up my year-end lists three times now. That’s an achievement in itself, but doing it with three songs that sound nothing like each other is something else. “About You” is the most U2-ass sounding song of the year. And I like U2 a lot.

Asunojokei – “Diva Under the Blue Sky”

Here we fucking go. Asunojokei are a Japanese band that have picked up the “black metal but happy” torch from Deafheaven and ran a mile with it with their album Island. I keep getting Undertale vibes from “Diva Under the Blue Sky”. Something about the main melody feels very reminiscent of the excellent work Toby Fox did on that game's soundtrack.

The Beths – “Silence Is Golden”

A bit of blistering Kiwi indie rock to get the pulse up.

Phoenix – “After Midnight”

I was not expecting this. A beautiful reminder of what Phoenix are capable of, absolute masters of a slick, twisty pop-rock style that’s very much their own.

Fred again.. – “Jungle”

A true club banger. Turns out you can do an awful lot with a chopped vocal sample, a savage beat and a great sense of dynamics and timing.

Ibibio Sound Machine – “Protection From Evil”

I’ve got a lot of love for tracks that find ways to keep building and building upon themselves. Having a truly magnetic presence like Eno Williams front-and-centre on the microphone would’ve been enough, but having her vocals and the rhythm behind her slowly rising in intensity before colliding together with horns for the climax is downright magical.

Beyoncé – “Pure/Honey”

Never bet against Bey. There’s a reason RENAISSANCE was the near-unanimous critic’s pick for album of the year, that’s because it’s just so damn fun to listen to in full. “PURE/HONEY” splits the difference between the album’s two moods: hard-edged house to start, with shiny disco as a chaser. The way the songs shifts between those two gears makes it the perfect pick for this playlist.

The Weeknd – “Take My Breath”

I remember first hearing “Take Me Breath” and thinking “this needs something extra”. That something extra turned out to be the extended version on the Dawn FM album. Almost twice as long as the single version, it allows the backing beat room to stretch out, with the chugging muted guitar and arpeggiated vocoder properly setting the scene for song to make more of an impression. It doesn’t just benefit the song, but the album as a whole. The three-song-run of “How Do I Make You Love Me?”, “Take My Breath” and “Sacrifice” is a thrilling moment from an artist with a career full of them.

Spoon – “Wild”

“Wild” is my favourite song of the year. I knew that the second I laid ears on it. Spoon have been one of my favourite bands for a long time, and the fact that they can still come up with songs this good after 25 years is awe-inspiring. “Wild” is such a perfect Spoon-esque song, it’s honestly incredible that they hadn’t written it already.

Alvvays – “Belinda Says”

A blast of aural sunshine, with a key-change befitting of its namesake.

Camp Cope – “Running with the Hurricane”

This was a late discovery for me in December. While making my way through all of the hyped releases I’d missed, it was refreshing to come across music that was so direct and earnest. A true breath of fresh air, which I assume a hurricane would also have plenty of.

Shamir – “Reproductive”

By contrast, this was an early favourite that I rediscovered while combing through my existing collection. It always takes me a few plays to properly acknowledge the lyrics of songs. Once I noticed the streak of self-loathing running through this one, it just made the deep sadness of the music hit harder.

The Smile – “Free In the Knowledge”

Choosing my album of the year was tricky. This and the next four acts on the list were all contenders for the crown, though none jumped out as instant picks like previous winners have. In the end, I gave it to A Light for Attracting Attention by The Smile (the new band featuring Thom and Jonny from Radiohead, and Tom Skinner from Sons of Kemet), simply because I had a nice little moment to myself while listening to it for the first time. Relaxing alone in the park, in the warm sunshine, feeling at peace with everything. By the time I’d gotten to “Free In the Knowledge”, I felt a calmness I hadn’t felt in months. Other albums just can’t compete with those personal moments.

Big Thief – “Change”

One last quiet moment before things pick up again. “Change” is a cool breeze of existentialism on a warm day, the kind of vibe Big Thief have been very good at for some time now.

Black Country, New Road – “The Place Where He Inserted the Blade”

I’d said in the introductory post for my 2021 blogs that, after being slightly disappointed by their debut, I was looking forward to Black Country, New Road delivering on their next album. And boy, did they. Ants From Up There is a record that was fascinating on first listen, and keeps revealing hidden layers on repeat plays, especially when digging into the lyrics. “The Place Where He Inserted the Blade” (it’s about cooking, not killing) is a rich portrait of domestic malaise, the kind Jarvis Cocker used to dabble in. It’s sad that vocalist Isaac Wood has decided to move on, but I’m glad he’s putting his mental health first. That can’t have been an easy decision. And, once again, I’m very interested to see where the band goes from here.

Black Midi – “Sugar/Tzu”

I’d lumped Black Midi together with BC,NR and Squid (or Black Midi, New Squidi, as I liked to call the grouping) in that 2021 post, but they really couldn’t sound more different from each other. While BC,NR spent the year chasing a deliberately pastoral sound with strings and all, Black Midi made a record that sounded like an arson attack at a Cole Porter recital. Hellfire is Black Midi’s most accessible record yet (not a high bar, admittedly), and it’s helped grow my appreciation of their previous work too. If you’re in the mood for hearing three musicians (plus a brass section) playing the ever-loving shit out of their instruments, “Sugar/Tzu” is the song for you. I’m a very big fan of the little guitar break at 3:20.

SpiritWorld – “Relic of Damnation”

My ferocious appetite for metal and hardcore did not diminish in 2022, and SpiritWorld’s DEATHWESTERN was the best the genre had to offer this year. It’s loud as hell, yes, but there’s a buoyancy to this band’s music that harkens back to the thrash metal of the late ‘80s. A song like “Relic of Damnation” isn’t just interested in pummelling your ears, it also wants to propel you forward, smashing through whatever boring chore you have to finish. This band is almost single-handedly responsible for me processing as many invoices as I did this winter. I’d listen to Randy Moore make that demonic horse neighing sound with his guitar all fucking day.

King Gizzard & The Lizard Wizard – “The Dripping Tap”

This isn’t the longest song I’ve featured on these year-end lists, and it sure-as-shit won’t feel like it either. Of the five (yes, five) albums worth of music Oceanic overachievers King Gizzard & The Lizard Wizard released this year, “The Dripping Tap” is the crown jewel. While I’ve found some of the band’s other work to be somewhat meandering, this song is 18 minutes of pure, focused, fast-paced psychedelic rock. It’ll take you on a wild ride without even leaving your living room, and the time flies by whenever I put it on. The way the opening verse returns with a vengeance (and the full band behind it) for the final minute feels like a real gift, and the perfect way close out both this playlist and 2022 in general.

Thanks for reading! I enjoyed writing this! If you fancy reading more from me, I’ve done similar series for every year going back to 2011 (and basic lists for 2008-2010). Just copy and paste this link (https://dontlookdown.tumblr.com/tagged/best-of-20xx) and edit the year to see them!

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modistas · 1 year

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rcmndedlisten · 1 year

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...And then there are the albums that defy any distinct definition because they are outside of even unconventional boundaries. Experimental music can creak into corners ambient and electronic, or twist rock and contort pop into artful, avant patterns. There were many artists this year across the spectrum who molded the sonic canvas in challenging sound, color, light and matter itself in how their music entered our conscious. These were the best albums that tapped into other worlds even if they were created in our current physical...

Animal Collective - Time Skiffs [Domino Records]

Time Skiffs is a reminder of why we should never take a band like Animal Collective, as it’s a reunion of sorts with it being the first album since 2012′s Centipede Hz to feature all four members in the mix where their matured wilderness and nautical voyages have never felt as fit for a real chill as it has here as their hyper-color psychedelia reaches the closest they’ve come to jam band status without sacrificing their feral sides either.

Beach House - Once Twice Melody [Sub Pop]

Victoria Legrand and Alex Scally definitely have nailed down singularity with their style at this stage in their career, but their eighth studio album -- a double album opus at that -- is perhaps their most definitive sensation of instantaneous synesthesia and mind-and-physical-nature-altering music they’ve produced yet. Embellishing their dream-pop elixir with strings and psychedelic portals to worlds beyond worlds, Once Twice Melody is well worth its lengthy travel all while promising a kind of transcendence only the Baltimore duo hold the key to.

Black Country, New Road - Ants From Up There [Ninja Tune]

As it turns out, we hardly knew Black Country, New Road at all upon last year’s breakthrough debut, for the first time. On the London septet’s sophomore effort Ants From Up There, the band – led by the fascinating, wild-eyed narrations of now-departed vocalist Isaac Wood – it’s their own uninhibited instrumental malleability that steeps their sound into a captivating post-rock theater which gives us something further to consider of a band who are intent on never sounding or looking the same as they did even just one year ago.

black midi - Hellfire [Rough Trade]

Chaos, chaos, and even more chaos, even when it sounds like all the calamity and human destruction in the fantastical tale have reached cease fire. That’s black midi’ Hellfire, the latest album from the London-based experimental art rockers, who on this turn go all in on a glory of their their most unhinged sonic facets that have been steadily climbing over the course of their first two albums in the form of precisely meticulated post-punk of their 2019 debut Schlagenheim and last year’s cosmically imploded jazzist traverse Cavalcade without losing their grip.

björk - fossora [One Little Independent Records]

björk’s fossora was inspired by fungi and a sound she earlier described as “biological techno”. That very much checks out, and as usual, reinvents genre, as the tenth studio album from the experimental art icon is the sound of nature burgeoning its way through the soil from its most microscopic spore, reaping and sewing with the seasons of birth, decay, and death where love, partnerships, motherhood and familial bonds eventually return their energy back to the soil.

Boy Harsher - The Runner (Original Soundtrack) [City Slang / Nude Club Records]

Boy Harsher don’t regard their original soundtrack to The Runner, a short, Lynchian horror film which they wrote and directed themselves, as a release separate from the rest of their discog. Rather, it’s a proper fifth full-length effort as well as a watershed moment for the Northampton electronic duo of vocalist Jae Matthews and producer Augustus Muller in creating their most inviting release yet, with eight songs being scene-setting chapters building terror in the most cinematic sense through strobing lights and heavy fog as well as gleaming goth club and new wave bangers.

Carlos Truly - Not Mine [Bayonet Records]

Ava Luna guitarist Carlos Hernandez’ talents on his own merits are fully realized on Not Mine, his first solo album as Carlos Truly. Recorded alongside his brother Tony Seltzer, the album professes an nth degree of synesthesiac sophisticate taste to it in the way Hernandez sculpts wave forms of R&B, funky guitars, and experimental pop and jazz flourishes in relation to his world view onto the emotional, personal and creative connect. With his voice barely touching ground, the listen blends sense and memory into a warm air feeling.

Claire Rousay - everything perfect is already here [Shelter Press]

Claire Rousay collage of sound is the immersion of her own specific surroundings, temporal to that moment, but committed to tape to live on forth with we as listeners. The San Antonio-based field recordings specialist’s latest, everything perfect is already here, continues mining seconds passing by through an instrumental rendering with ornate contributions from violinist Alex Cunningham, electrician and violinist Mari Maurice, harpist Marilu Donovan, and pianist Theodore Cale Schafer in a delicate inversion into Rousay’s world where even in stillness, her music can adorn a space with a deeper meditation onto the self.

Guerilla Toss - Famously Alive [Sub Pop]

Noise, psychedelic powers, and flashes of pop have long permeated Guerilla Toss’ music over the years, so it’s a fitting irony that on Famously Alive, their first album for Sub Pop, they would find a sense of clarity and balance in it all, created across some of the most chaotic times of our modern existence. Their synesthesia explodes vividly, and the hooks stick like Gak to the ears, all while vocalist Kassie Carlson confronts existentialist dread head on with empowering messages of reclaiming ownership of one’s fate in anthem.

Healing Potpourri - Paradise [Run for Cover Records]

Simi Sohota has reengineered the power of the calm vibe with Healing Potpourri’s Paradise. A bouquet of chamber pop, yacht and kraut rock in a breeze sailing its way in from the cosmos, Sohota alongside producer and Stereolab collaborator Sean O’Hagan have created an album that indulges in soft rays of sunlight and sighed reflections on connections through organic highs and interstellar journeys of the self that see every color in this strange human experience.

The Mall - Time Vehicle Earth [Self-released]

With so much within the overlapping industrial, electronic, and punk realms having become blasé and a mere goth cosplay, hitting play on Time Vehicle Earth will have all your perceptions of reality rearranged and raged. The moniker of St. Louis artist Mark Plant and Spencer Bible is like the equivalent of staring deeper and deeper into the cosmic sights of James Webb Space Telescope and realizing that the further out we get, the less we know as Plant’s shouts echo through spiraling space-synth at a punk-fueled speed of light.

Moor Mother - Jazz Codes [ANTI- Records]

Prolific and faceted as always, be it in her own name and other projects like her free jazz ensemble Irreversible Entanglements or the avant rap-pop duo 700 Bliss, Moor Mother’s Camae Ayewa has taken less than a year to bring forth a bookend 2021 standout, Black Encyclopedia of Air, with Jazz Codes, an album which she goes even deeper into the ether with a seance of Black creativity’s most brilliant, unheralded minds lifting through her new age jazz conversations and electronic multiverses that rupture enlightenment throughout.

Palm - Nicks and Grazes [Saddle Creek Records]

Mashing together philosophy, color and synesthesia, rock noise and electronic devices, Palm come alive on their third full-length effort in their newfound freedom of approaching their art while becoming hyper-aware of the outside obstacles that brought the four-piece to this point. It’s pop extracted from every high and lull of emotion, but unlike one meant to imitate anything beyond the moment its consumed.

P.E. - The Leather Lemon [Wharf Cat Records]

The Leather Lemon reassembles sound through the pieces of the world we continue to pick up in its aftermath. For that, P.E. focus on their strongest pop points amid the asymmetry, filling deeper grooves where absent pockets once were with body contortion and skin-on-skin contact. The turbulence of these times still exists within the context of these songs, though this time around, the Brooklyn band are working with them to connect emotionally, sensually, and physically rather than add to the discord.

Rachika Nayar - Heaven Come Crashing [NNA Tapes]

A new galaxy just dropped, and it’s called Rachika Nayar’s Heaven Come Crashing. The Brooklyn-based guitar virtuoso and multi-instrumentalist’s sophomore follow-up expands the celestial atmospheres discovered on last year’s Our Hands Against the Dust in one of the most sensory-entrancing examples of modern guitar art in which Nayar synthesizes her instrument with ambient colors and haloing vocal accents by songwriter Maria B.C., blurring the space between emotive rock, ambient electronic and trancelike dance music –emotion in motion at a constant centripetal force.

The Smile - A Light for Attracting Attention [XL Recordings]

A Light for Attracting Attention is clear evidence that the Smile are more than just a Radiohead side-project. Featuring Thom York and Johnny Greenwood alongside drummer Tom Skinner of the now-defunct Sons of Kemet, the trio have built their own new world of sound using places they’ve visited in their respective past lives, but at an alternate universe distance where its more experimental terrain of free jazz and electronic music allow them to continue to predict the future of art rock and our existence in an eerie spectral delight.

Sonic Youth - In/Out/In [Three Lobed Records]

Even in their post-mortem, Sonic Youth still remain among one of the most innovative sculptors in noise rock whose ideas remain unparralel in our current existence. A decade removed from their final bow, In/Out/In – a collection of several mostly instrumental tracks unearthed from their early Aughts era – moves seamlessly in its own distinct singular waveform despite being created in disconnect rendering Sonic Youth in their jammiest formation yet, with the static becoming a transfixing groove.

They Are Gutting a Body of Water - lucky styles [Smoking Room]

lucky styles, the third full-length effort from They Are Gutting a Body of Water, realizes the Philly experimental band’s wildest yet appeasing impulses in one sitting within textures of static-washed shoegaze, electronic-speckled zone-outs, and noise-pop over dreamy overtures and post-hardcore aggression rendering something much more adventurous than what we perceive in our everyday waking life.

#best of 2022 #they are gutting a body of water #sonic youth #the smile #rachika nayar #p.e.#palm #moor mother #healing potpourri #guerilla toss #claire rousay #boy harsher #bjork #black midi #black country new road #beach house #animal collective #the mall #carlos truly

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bestofmidi · 2 years

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Now remastered in Undertale soundfont

same midi as the previous ones!

#midi #best of midi #temporary secretary #paul mccartney #mccartney ii #fishmech #1980

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red-dyed-sarumane · 1 year

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absolutely no one cares but its okay bc im doing this for ME

#this is soo fun and also the worst thing ever #playing with tuning after i get all the lyrics in is going to be sooo fun #and then im going to have to mix it and i will bash my head off a rock. lovingly.#thank u hiimagu for the midi. that makes this possible. u are the best.#it is somehow not exact and needs tweaking however a small price to pay for getting it from the source #the song is uni (ユニ) for the unaware.#'whos the other part of the duet' who do u think. the blue fairy ladie of course.

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whales-are-gay · 2 years

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oh no im actually warming up to the midi trumpet ska

#the best midi trumpets patreon money can buy #i just think it's really cool #that they *could* redo their old songs from high school #lol i wish i learned more instruments in hs #back when i could borrow them for free #music #personal post #bardcast #bombarded

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samusique-concrete · 1 year

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My fav albums of 2022!

I’m trying to at least squeeze in this post in January 2023, hehe :p

I’ll go from last to first. Let’s go!

10: Dawn FM - The Weeknd

I’ll be honest, i’m not in love with the entirety of this record. I think it has some of the best pop songs that’ve dropped recently (back to back even!), but after track 7 it’s not quite the same (am i alone in this?? let me know!!). It’s a shame too, because at 16 tracks total, the “great” part ends up being less than half of the album. Sooo why is it on my top 10 at all? Well, because i did still play it and replay it tons of times. Those first songs on it... man. Immaculate vibes. Though after Out of Time ends i almost always turn it off 😅

Side tangent regarding Out of Time, btw: I’ve always liked OPN, and getting the chance to listen to his production on big artists like this is kind of a treat. When i heard OoT though i was like “Damn! They arranged this?! This is really precise and detailed and far beyond the scope of what i thought they were capable of...” So then when i learned that the backing track was actually sampled from Tomoko Aran’s 1983 song Midnight Pretenders i was really disappointed (i’d even listened to that album AND song before, i just didn’t remember it). We’ll leave the discussion of how i feel about covers/sampling in general for another day though!

Fav song on it: Gasoline

09: The Ruby Cord - Richard Dawson

I’m telling you man, that Hermit song? Those 41 minutes go by reeeal quick. Don’t be scared of pure beauty! On top of it there are also some other banging tracks as well. The Fool’s soundscape is another highlight for me, for example.

Fav song on it: The Hermit

08: Fawn - Foxtails

I like heavy shit, although i’m not usually into screamo stuff... but i’m kinda slowly changing that. This record was great for me in that regard cuz it’s not all entirely sung in that style. Great entry point if you wanna get attuned with that general sound, probably. I didn’t know this band prior to hearing this, and now i can say i’m a fan! These tunes rule. They sound younger than me though, and i’m still trying to cope with that LOL

Fav song on it: Space orphan

07: Tropical Dancer - Charlotte Adigéry & Bolis Pupul

Brilliant dance/club/techno/house from these two. I would say “biting social commentary” if 1) it wasn’t the most clichéd phrase ever and 2) if it wasn’t at least the baseline """wokeness""" society should just operate at nowadays, honestly. It’s also charming and funny. And danceable AF. Great great great record; not many like it.

Fav song on it: Reappropiate

06: Super Champon - Otoboke Beaver

Punk! Heavy! Fast! Fun!

Fav song on it: First-class side-guy

05: Ants From Up There - Black Country, New Road

Lmao, speaking of musicians that’re younger than me. This album’s a certified instant classic, and you probably know that already. You don’t need to hear it from me again. You can listen to it again, though!

Fav song on it: Haldern

04: Renaissance - Beyoncé

Not much i can add to the discussion of this album, or Beyoncé in general... Well, actually, one thing that comes to mind is how this record comes off as extremely pro-capitalist and individualistic on her part. Idk i admit i don’t usually listen to her, so idk if that’s her usual spiel. It makes sense tho, with her being a gajillionare and having a completely different lifestyle than any of the people who listen to her. This album’s whole aesthetic is money. Even in the sound! It sounds like it was very expensive to make and like every single little beep and/or boop on it was analyzed and tested by a large team of specialists in order to fit perfectly in a song. I will say, though, it sounds fucking amazing. Really pristine production. Bop after bop. I’ve danced to this album a lot.

Fav song on it: Virgo’s Groove

03: Pigments - Dawn Richard & Spencer Zahn

I loooove the concept of this album. It reminds me of 2021′s Promises by Floating Points, Pharoah Sanders & The London Symphony Orchestra in how a musical motif is introduced at the start and how it gets developed across the whole runtime of the record. I don’t wanna compare these two albums though; they’re very different. This one’s also really groovy at times! Love the composing, arranging, instrumentation, singing and everything else in this. And also, little details like the naming of the songs after... well, pigments, and having those pigments in order of appearance on the cover go a long way to making an album feel like a holistic, thought out experience for me. Love it!

Fav song on it: Crimson

02: Hellfire - Black Midi

Insane. Go listen to it if you haven’t already listened to it like 500 times like me. Or! Better yet, if you’ve heard it 500 times go and listen to it again. Insane! These kids really are pushing the whole jazz rock/prog rock/alt&art rock in general scene forward. I also love how each story (i.e. song) on this feels like a very different but still very tangible depiction of a hellish experience.

Fav song on it: Dangerous Liaisons

01: Motomami - Rosalía

Motomami’s an excellent record. That’s just how it is. It’s also special to me specifically because it dropped right around the time when i moved away from home, and i had it constantly on repeat on my new place. However, the real reason it’s on my #1 spot is because it kinda changed things, culturally speaking. It was a force of nature to be reckoned with, upon release. You see, i live in a natively Spanish speaking region, and over here this album was some sort of a cultural reset. I think that’s bigger than me or anyone else’s preferences, and it’s more than enough to warrant the top spot. I also just happen to love it!

Fav song on it: Diablo

Anyway. Have some honorable mentions as well, in no particular order:

Until next year!

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wygolvillage · 2 years

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kindof tempted to try writing music again but thats probably an evil influence speaking

#its like. oh yeah this is a thing i enjoyed doing and theres nothing wrong with making your silly little midis #vs. its been years and youre probably bad at it and you got burned out on vocaloid #AND THEN THERE IS A THIRD VOICE IN MY HEAD saying i miss oliver my horrible son with every disease #also i feel weird about like. resurrecting my youtube channel bc i dont think my old work is really indicative of what id make now #my old stuff is like. synthpoppy and sometimes i would play with genre but idk if thats the direction id want to stay in #and id feel weird about new people looking at my old stuff. but i dont necessarily want to start a New Channel either #thats probably my best option though! like i feel like a fresh start would be nice

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themissingpatient · 1 year

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Best of 2022 playlist

1. Doomscroller by Metric from Formentera

2. Atopos (feat. Kasimyn) by Björk from Fossora

3. Blacklight Shine by The Mars Volta

4. new body rhumba by LCD Soundsystem

5. 5.17 by Thom Yorke

6. Shadows (feat. Jordan Rakei) by Bonobo from Fragments

7. The Hardest Cut by Spoon from Lucifer on the Sofa

8. In the Midnight Hour by Perennial from In the Midnight Hour

9. Fear Of The Dawn by Jack White from Fear Of The Dawn

10. Sugar/Tzu by Black Midi from Hellfire

11. Graveyard Love by The Mars Volta

12. Vivien by (Crosses) from PERMANENT.RADIANT

13. Plattenbau Persephone Praxis by Ashenspire from Hostile Architecture

14. Welcome To Hell by Black Midi from Hellfire

15. The Smoke by The Smile from A Light for Attracting Attention

16. Feels Alright by Spoon from Lucifer on the Sofa

17. Thin Thing by The Smile from A Light for Attracting Attention

18. ANGEL OF DARKNESS by The Comet Is Coming from Hyper-Dimensional Expansion Beam

19. Open the Floodgates by The Smile from A Light for Attracting Attention

20. That Was Then, This is Now by Jack White from Fear Of The Dawn

21. Perennial In a Haunted House by Perennial from In the Midnight Hour

22. Fossora (feat. Kasimyn) by Björk from Fossora

#metric #bjork #the mars volta #lcd soundsystem #Thom Yorke #bonobo #spoon #perennial #jack white #black midi #crosses #ashenspire #the smile #the comet is coming #music #best of 2022 #playlist

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makemusiconline-ampedstudio · 2 years

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Best midi keyboards 2022

A MIDI controller keyboard is an essential piece of equipment in any studio. The best MIDI controllers can take your recordings to a whole new level. If you're not sure where to start, we've got all the information you need right here. USB-based MIDI controllers offer an easy and convenient way to play and record software instruments with your computer. They can be plugged directly into your PC or laptop via USB, or in some cases they can operate wirelessly over Bluetooth. This makes them a central performance hub for your studio, allowing you to play and record software instruments with ease. Some MIDI controllers also double up as a control interface for hardware synths, making them an essential piece of kit for any producer or musician. There are a variety of different MIDI keyboards to choose from, depending on your needs. You can go for a smaller, more portable model that fits comfortably in a laptop bag, or you can go all out with a full-sized 88-note keyboard with weighted keys. The most important factors to consider include the number of keys (some models have 88 keys, while others have fewer), the type of action (weighted keys or not), and whether or not you need additional features such as knobs, pads, buttons and faders. When shopping for a MIDI keyboard, it's important to consider what you need in order to make the best purchase. You can get a cheap model for less than $100 if you look around, but if you're looking for a higher quality option with more features, you'll likely have to spend a bit more. In general, MIDI keyboards that cost more tend to be more rugged and able to stand up to travel. So, if you're looking for something to take on the road with you, it might be worth spending a bit more. Finding the right one for you can be a daunting task. With so many options available, it can be hard to know where to start. Our price comparison widgets have found the best deals online right now, so you can be sure you're getting the best possible price. If you need more guidance, head to the buying advice section at the bottom of the page. There, you'll find tips and advice on how to find the perfect product for your needs.

The list of the best midi keyboards - our choice

- Nektar SE25 MIDI keyboard - Novation Launchkey Mini Mk3 MIDI keyboard - Akai MPK Mini Mk3 - IK Multimedia iRig Keys 2 Mini - Native Instruments Komplete Kontrol M32 - Korg microKEY2 Air-25 - M-Audio Oxygen 49 MKV - Novation Launchkey 37 Mk3 - Arturia Keystep 37 - Native Instruments Komplete Kontrol A25 - IK Multimedia iRig Keys I/O 49 - Nektar Impact LX88+ MIDI keyboard - Arturia Keystep Pro - Arturia KeyLab 49 MkII MIDI keyboard - Novation 49 SL MkIII - Native Instruments Komplete Kontrol S61 MkII - Roland A-88MKII - ROLI Lumi Keys Studio Edition - M-Audio Keystation 88 MK3 - M-Audio Oxygen MKV 61 - Nektar Impact GX Mini - CME XKey 25 - Nektar Impact GX49/61 - M-Audio Keystation 49/61 MK3 - NI Komplete Kontrol A49 - Keith McMillen QuNexus - Alesis V61 - Nectar SE49 - Roli Seaboard

MDI keyboard selection criteria

The best piano replacements don't have to strictly follow the 88 weighted key rule. There are many great pianos that don't follow this rule, and can still produce beautiful music. So, don't be afraid to choose a different type of piano if it speaks to you. Ultimately, the best piano for you is the one that you feel most comfortable playing and that makes you happy. What are we looking for: - High build quality; - Soft touch keys; - Pitch-bend and modwheel; - Velocity/pressure sensitivity. Choosing a MIDI keyboard can be a difficult process, especially if you don’t know what to look for. There are a few important factors you need to consider, such as the build quality and playability of the keyboard. This list is short due to those factors, but it will ensure that any recommendation we make will feel well-built and playable. You won’t regret your purchase if you take these factors into consideration. When it comes to MIDI controllers, there are a few different things you'll need to decide on before making a purchase. The first decision is the keybed size- some controllers come in miniature 25-key sizes, while others are full sized with 88 keys. Aside from the number of keys, the controllers are essentially the same. The following parameters will need to be guided subjectively at your own discretion: - Number of Keys. The number of keys on a keyboard can affect its price and bulkiness. More keys mean a higher price and more bulk, which might be unnecessary if you’re not playing classical pieces. 49 keys are good enough for synthesizer-focused players, whereas 61 keys are a good amount for keyboardists who need; - Key Type. Synth-action keys are the most common type of keys found on digital pianos. They are generally more lightweight and responsive than weighted keys, but still provide a sense of resistance that is often desired in piano playing. Weighted keys, on the other hand, offer a heavier touch that can be more advantageous for certain types of music. Semi-weighted keys are a rarer option that falls somewhere in between the two, offering players the best of both worlds in terms of responsiveness and resistance; - Number of Controls. It's good to have knobs and buttons for assigning software functions with MIDI Learn, but most of us don't need a full digital mixing board. If we did, we'd be buying something else. Knowing what you need is key. If you don't need the controls, you can get the same keybed on the Nektar SE49, which is a stripped-down version of the Nektar GX49. Knowing what you need is key to getting the right product; - Number of Controls. It's good to have knobs and buttons for assigning software functions with MIDI Learn, but most of us don't need a full digital mixing board. If we did, we'd be buying something else. Knowing what you need is key. If you don't need the controls, you can get the same keybed on the Nektar SE49, which is a stripped-down version of the Nektar GX49. Knowing what you need is key to getting the right product; - Aftertouch is one of the most unique and expressive features on a keyboard. Unlike typical pressure sensitivity, aftertouch continues to detect how hard you’re pushing down until you let go. This can be used to add extra layers of expressivity to your performances on instruments like organs, where aftertouch can be assigned to control the rotary speaker speed; - 5-Pin MIDI Support. If you're using a MIDI controller that doesn't have a MIDI port, you can use a USB MIDI interface to send MIDI signals through a traditional 5-pin MIDI cable. However, this can be inconvenient because USB ports are limited on laptops. Here's an example of how to connect a USB MIDI controller to legacy hardware: USB MIDI Keyboard -> Computer -> USB MIDI Interface -> 5-Pin MIDI Cable -> Legacy Hardware. Although it's possible to use USB MIDI controllers without a MIDI port, it's not as straightforward; - Pads. Pads are an important part of a keyboard, but they are not a necessary component. They are essentially larger buttons, which can be helpful for playing on a main keyboard. Finger drumming is a popular activity, but I find that keyboard-drumming is more precise. Your own experience may vary; - Pedal Support. When looking for a keyboard, it's important to consider whether or not the model has a pedal jack. Not all keyboards have this feature, particularly the smaller, portable 25-key models. However, it's always better to be safe than sorry, so it's best to make sure that the model you're interested in includes pedal support. This can be either through a proprietary jack or otherwise; - Software Support. MIDI controllers that are designed to integrate well with specific software can be a great option for musicians who want the best possible experience with their music-making tools. By choosing a controller that is specifically tailored to work well with your software, you can eliminate many of the compatibility issues that can arise when using different programs. This can lead to a smoother, more efficient workflow and help you get the most out of your music-making.

Best MIDI-keyboards reviews

1. Nektar SE25 MIDI keyboard

Compatibility: PC, Mac No of Keys: 25 Key size: Mini Key type: Velocity-sensitive Controls: 6 function keys; assignable PB1 & PB2 buttons for pitch bend, transpose, volume, pan & track; assignable ‘Part Two’ button for octave, MIDI channel, transpose, layer & latch; S button for sustain & modulation Connectivity: Micro USB port, sustain pedal input Power: USB Software: Bitwig 8-Track Dimensions (mm): 335 x 100 x 2 Weight (kg): 0.4 A MIDI controller keyboard can be an essential item if you're always making music on the go. The Nektar SE25 proves that features and playability don't need to be sacrificed for the sake of size and portability. This MIDI controller is small enough to fit in a laptop bag, but it still has 25 keys with full-size velocity and aftertouch. There's also a 4-way joystick for pitch and mod control, as well as buttons, knobs, and faders for even more control over your sound. Plus, the SE25 is USB powered, so you can just plug it into your laptop or computer and start making music right away. If you're looking for a small MIDI keyboard and don't want to break the bank, Nektar's new SE25 is well worth considering. It's not the cheapest option out there, but it offers good value for money, and we found it to be thoroughly impressive during testing. It's a simple, compact product, but it does everything you need it to do - no more, no less. 2. Novation Launchkey Mini Mk3 MIDI keyboard

Compatibility: PC, Mac, iOS No of Keys: 25 Key size: Mini Key type: velocity-sensitive Controls: Octave shift, Transpose, Pitch and Modulation strips, 16 velocity-sensitive backlit RGB launch pads, 8 rotary encoders, 10 function buttons Connectivity: USB B port, 3.5mm TRS Type A MIDI out, Sustain Pedal input Power: USB Software: Ableton Live Lite, two months of Splice Sounds, AAS Session Bundle, Softube Time & Tone, Spitfire Audio LABS Expressive Strings, Klevgrand DAW Cassette and R0Verb, XLN Audio Addictive Keys, membership of Novation Sound Collective Dimensions (mm): 330 x 172 x 40 Weight (kg): 0.69 The Launchkey Mini Mk3 is a powerful pocket-sized controller that is packed with features. Many of these features were missing from the previous version, including pitch bend and modulation touchstrips, a hardware MIDI out on a TRS jack, an incredibly flexible and versatile arpeggiator, a chord memory feature, and a great software bundle. The Launchkey Mini Mk3 is a great keyboard controller for Live users, but it doesn't work perfectly with every DAW. If you're looking for the best solution at this price point, the Launchkey Mini Mk3 is definitely the way to go. The Launchkey Mini MK3 is a great choice for a small, velocity-sensitive MIDI keyboard. It has an impressive range of connectivity options, making it perfect for traveling or using in a variety of settings. 3. Akai MPK Mini Mk3

Compatibility: Mac/PC/iOS No of Keys: 25 Key size: Mini Key type: velocity-sensitive Controls: Eight assignable encoders, eight MPC pads, full transport controls, 4-way joystick Connectivity: USB Power: Bus-powered Software: MPC Beats, Bassline, Tubesynth, Electric, Hybrid 3, Mini Grand, Velvet Dimensions (mm): 32 x 18 x 4 cm Weight (kg): 750g The Akai MPK Mini Mk3 is a great MIDI keyboard for most people, particularly those looking for a quick and easy way to add melodies, basslines and simple chords to their projects. It's small and easy to use, with a ton of features that make it perfect for musicians of all levels. The MPK Mini MK3 is much more than just a keyboard. It also has eight encoder knobs which can be easily mapped to any parameter of your DAW, and eight full-sized MPC style drum pads. This makes it an ideal controller for studio use or live performances. At its heart, the Nano studio is a portable production powerhouse. Its small size makes it easy to transport, while its wealth of features and functions make it a valuable addition to any studio setup. Whether you need to record vocals, guitars, or other instruments, the Nano studio has you covered. Plus, its intuitive controls make it easy to use, even for beginners. So if you're looking for a versatile and portable recording solution, the Nano studio is definitely worth considering. 4. IK Multimedia iRig Keys 2 Mini

Compatibility: Mac/PC No of Keys: 25 Key size: Mini Key type: Velocity sensitive Controls: Volume, Octave up/down buttons, Program up/down buttons, Setup button, assignable data push encoder, 4+4 assignable knobs, Modulation Connectivity: MIDI in/out, micro-USB, 1/8" headphones output Power: USB Software: iOS SampleTank, Syntronik Pro-V Cubasis LE. Mac/PC: SampleTank 4 SE plus one of your choice from seven titles Dimensions (mm): 32 x 14 x 5 cm Weight (kg): 0.58kg The Keys 2 Mini 25 is a small and affordable keyboard that has 25 mini keys. It is one of the smallest and cheapest models in the iRig Keys range, which also features keyboards with 37 mini keys and Pro (37 full-sized key) options. Mini 2 25 is small enough to place on any desktop, and it is sturdy enough to stay in place. It also features direct connectivity to iOS devices. The keyboard has a variety of controls that you can use to customize your sound. These include the standard controls such as volume and pitch, as well as more advanced options like MIDI assignments and editing. The keyboard also has a set of program buttons, assignable rotaries, and a data knob to give you easy access to all of its features. The keyboard is solid and well-sprung, although it may not be the player's dream come true. There are no dedicated pitch-bend or modulation dials, but if this is important to you, there are workarounds that you can explore deeper with Edit Mode. The Irig Keys 2 is a great keyboard controller that is a bit on the expensive side. This offers many of the same features at a smaller size and for less money. Plus, it comes with a decent software bundle. 5. Native Instruments Komplete Kontrol M32

Compatibility: PC, Mac No of Keys: 32 Key size: Mini Key type: Velocity-sensitive Controls: Eight touch-sensitive control knobs, two touch strips, four-directional push encoder Connectivity: USB Power: USB Size: 47.5 x 16.7 x 0.5cm Weight (kg): 1.45kg The Komplete Kontrol A-Series is a USB 2.0 bus-powered keyboard that manages to squeeze 32 mini keys and the full complement of Komplete Kontrol controls into its tiny frame. It delivers almost the same functionality as the Komplete Kontrol S-Series (see below), making it an excellent mobile option for producers on the go. The Komplete Kontrol M32 replaced the pitch and modulation controls with a pair of short touch strips. Also, the controller is equipped with 8 capacitive knobs, a 4d encoder, as well as numerous buttons that are incomparable in their tactile sensations. All this provides a high comfort of control, working with the operating Maschine, as well as using the interface of your DAW. The OLED display and Smart Play features from the A-Series are also in place on the B-Series, allowing you to scale snap, chord trigger and arpeggiate with ease. As a regular MIDI controller keyboard, it also works with any other software. The mini keys were the only downside to this keyboard for us. We found that we could live with them after some getting used to them, so if you can live with them too, this is the best portable and affordable MIDI keyboard you can buy. 6. Korg microKEY2 Air-25

Compatibility: PC, Mac, iOS No of Keys: 25 Key size: Mini Key type: Velocity-sensitive Controls:Joystick, Arpeggiator button, Sustain/TAP button, Octave Shift buttons Connectivity: USB, Bluetooth Power: USB or batteries Size: 39.5 x 13.1 x 0.52cm Weight (kg): 0.67kg The line of microKey 2 Air midi keyboards is represented by 4 models depending on the number of notes: 25, 37, 49 and 61. Each works via Bluetooth communication. Power is supplied via AA batteries or via USB. If you're looking for a MIDI controller keyboard that's easy to set up and operate, the microKey 2 Air 25 is a great option. It may not have as many bells and whistles as some of its rivals, but it delivers on the basics, and plays far better than many other keyboards in its class. 7. M-Audio Oxygen 49 MKV

Compatibility: Mac/PC No of Keys: 49 Key size: Full-sized Key type: Velocity sensitive Controls: 8 velocity-sensitive trigger pads, 8 assignable knobs, 9 assignable faders, transport buttons Connectivity: USB, sustain pedal Power: USB Software: Ableton Live Lite, MPC Beats, Skoove and Melodics instrument learning, Air Hybrid 3 and Mini Grand instruments Dimensions (mm): 81 x 24 x 9 cm Weight (kg): 2.9kg The Oxygen 49 MIDI keyboard controller is a lower-priced alternative to the M-Audio Pro 49. It has a 3-segment LED display, instead of the OLED display on the Pro, and it has 8 back-lit red pads instead of 16 multi-coloured ones. However, it still provides access to 16 sound sources from the front panel when programming. The Oxygen 49 lacks a dedicated MIDI out port, but it does have other features that make it stand out from the crowd. These functions are mostly triggered via soft keys and via 'secondary modes' from the keybed itself. Read the full article

#Best midi keyboards #controllers for beginers #Amped Studio

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