I have long been a fan of Waldorf synthesizers. One of the vary first virtual analog synths I ever bought was the Waldorf Q—in fact, you can hear it prominently on the Ember After songs “Paradise” and “Change” on the album Grasping At Straws. I was very interested when the Waldorf Blofeld came out, but ultimately I decided that the Access Virus TI Snow integrated better into Ember Studios.

Waldorf, however, has just released a software synthesizer called Largo that combines many of the great algorithms and features of their hardware synthesizers.

Largo offers much of what the Q and the Blofeld offer as far as oscillators, wavetables from the PPG and Wave, and LFOs, filters, modulation options go. The spec list is intense; go to the website to check it out.

Needless to say, I’m very interested in this instrument, and intend to check it out as soon as possible!

I have mentioned before that my main synthesizer is the Dave Smith Instruments Prophet ‘08.  I use it as my “goto” sound source, and also as my MIDI controller for my software instruments.  I think it sounds amazing, especially recorded through high quality preamps.  I love it so much, that I’ve even expanded my studio with a Mopho, which is just an amazing bass synth machine, the most easy to manipulate and creative I’ve ever owned.

Dave Smith just expanded the Prophet ‘08 line again, this time with the Prophet ‘08 PE edition.  The PE stands for Pot(entiometer) edition.

Visually, the PE edition seems identical to the standard, “RE” (rotary encoder) edition.  For those who aren’t clear about the difference between encoders and potentiometers (hereafter called “pots), here’s a very quick summary:

Endless rotary encoders spin endlessly (surprised, eh?).  This makes them great for “universal” applications.  For example, if you want to use your P08 as your MIDI controller for software instruments, for example, rotary encoders are great.  Since there is no “beginning” and “end” point, they can be used to send messages to control any value.  The knob can control the cutoff frequency of the P08 when playing a P08 sound, then to switch between waveform selections in a software synth, etc.

The disadvantage is that there is no “end” to let you know when you’ve reached a maximum value.  In the example above, controlling waveform type, there really is no end, so this isn’t a problem.  But with filter cutoff, there’s no physical feedback when you’ve reached the maximum cutoff value—you can keep spinning the knob, but you won’t be changing values anymore.

Pots have only about a 270-degree arc, so they have a “beginning” (full counter clockwise) and an “end” (full clockwise).  This is fantastic for, as above, filter cutoff.  When you reach the maximum value (full clockwise), the knob will physically stop turning.  This is a great physical feedback, and really lends itself to live performance.  As you already can see, however, the disadvantage of not being endless is that it makes the knob less suited to control other instrument parameters that aren’t endless.

Dave Smith generally does things very thoughtfully, and the P08 PE version comes with a mix of pots (38) and encoders (14) so it seems like the best of both worlds.  You’ll have pots for a more “traditional” control of parameters that will benefit from it, and encoders for control of parameters without min/max values.  From the listed prices, it seems like there’s about a $100 street price premium for the PE version, but for those who want pots, this isn’t much to ask at all.

My gut feeling is that this was a smart move.  DSI’s press release says that this was done due to popular demand, and I believe it.  A lot of synthesists prefer pots to encoders.  Does this make me want to sell my P08 and get a P08 PE?  Not sure if it’s worth replacing an existing P08 for the PE version, but if I were getting a new Prophet 08 right now, I might very well buy the PE version.

I’ve said it before, and I’ll say it again: I believe that as the decades roll on, the Prophet ‘08 will earn it’s place as a “classic” analog synthesizer, and the P08 Pot Edition is just another step in that path.

Okay, lame title, but hey, even hard rocking rivetheads have heard of Wham, right?  (or “Wham UK” I think they were called for a while in the USA).

Anyway, my thanks to Peter Kirn, on whose amazing blog Create Digital Music I first read that Cycling ‘74 is discontinuing support for their plug-ins like Pluggo, and Max/MSP’s ability to make AU/VST runtime plug-ins.

I’ve been using pluggo since the initial “74 plug-ins for $74 dollars” version.  It was great for some really odd and unusually processors and processes, even though not every version was the most stable.

But it’s more than just that, it’s that people wrote AU plug-ins using Max/MSP, that could run using Pluggo runtime.  All of TriTone Digital’s stuff ran in Pluggo, for example.  I could be wrong, but Peter, didn’t Olivier or Peter write their own AU plug-ins using Max/MSP?  Well, it obviously still works for now, but at some point, it will stop working…and that will be the end of it.

I know that Cycling ‘74 has thrown it’s hat in with Ableton, but this is still too bad.  I think there’s a real opening out there for crazy wild stuff that runs in every DAW, and it’s too bad that Pluggo (and the subsequent homemade weirdness) won’t be there to fill it.

Propellerheads Reason is a very good software studio package, and the most popular.  It’s number one feature request, I’m told, is to add audio recording.  Well, Reason will likely never get recording, but Propellerheads just announced a companion application called Record.

The video is very well done—a great combination of humor and detailed information.  I have to say, for what it is, it seems extremely well spec’d.  And like Reason, it’s laser focused as far as it’s feature set.  No plug-in support, although you get a full compliment of effects built-in, not to mention the fact that the mixer is a fully modeled SSL 9000 with all of it’s dynamics and EQs.  The integration with Reason is extremely well done—no swapping between apps, your Reason instruments show up in your Record rack.

I’m curious how it’s time stretching and 64-bit SSL modeled mix bus sound.  There are demos, but the time stretching demos have lots of other instrumentation and choruses that mask the basic stretching, so it’s hard to tell how it *really* sounds.

Overall, this looks extremely good.  I guess standalone it could be considered “GarageBand Pro” with more depth but less flexibility, but it really creates a great partner with Reason.  I can see a lot of “laptop symphonies” being created with the Reason/Record combination!

Metric Halo has long been present in the “Ember After Hardware” links in the right column of this blog.  Now that this has finally been released to the public, I can let you know what I’ve been using as the centerpiece of my studio: the Metric Halo ULN8.

Please follow the link above and read through the mini-site to get the complete lowdown on this device. A simple list of specs doesn’t do it justice.  To scratch the surface: it’s got 8 exceptional 24-bit, 192 kHz A/D and D/A converters, better than any I’ve ever heard—and I’ve both owned, and done shootouts for audio magazines with extremely high end interfaces in the same price range as the ULN8.  It’s got two of the best quality DI inputs I’ve ever used, and I’ve used a lot.  It’s got 8 ultra-low noise (the “ULN” in the name) mic preamps with gobs of gain (well over 70dB, enough for the most sensitive mic).  It’s got loads of hardware DSP for building your own routing/configuration for your own listening and monitoring environment and needs, as well as lots of exceptional processors which you can use on inputs, outputs, or your DAW tracks.  Even though this is a FireWire device, it’s ultra-low latency rivals the best latencies available today with any unit, even PCI-based interfaces.  It’s got a myriad other features that I don’t personally use (8 channels of AES/EBU digital I/O, MIDI inputs for direct connection of a control surface, and on and on…read the site!).  Last but not least, the ULN8 is completely mobile-ready like the rest of the Mobile I/O line (meaning it can live in or out of a rack, be battery pack powered, etc).  Really, read the full deal on Metric Halo’s website, as well as reader testimonials (including testimonials from myself and Ember Member Don Gunn).

I thought it appropriate to use this entry to discuss how important the ULN8 has become to Ember After in the nearly 3 years I’ve been using this unit.  It’s  flexibility has allowed me to experiment musically in ways that I wouldn’t even have thought of with a less flexible device.  I’ve used the ULN8 to process audio with it’s exceptional Character algorithms (basically, high end 80-bit preamp emulations).  Due to the hardware flexibility (there are DB25 connectors for line inputs, mic inputs, inserts, outputs, etc) I have used the ULN8 as a full digital mixer, setting up a simple TRS patchbay and routing out to guitar pedals and hardware synths and effects processors and back again with ease, and without worry of any sonic degredation due to AD/DA stages.  And it all integrates extremely well with Logic Pro, the software center of Ember studio.

I first received the ULN8 at the later stages of the Grasping At Straws album, and was a revelation.  Soon every track as well as Don’s mixes for the new EP in progress have been mixed, remixed or otherwise streamed through it, either to give the tracks some outboard sweetening, to sum it in the MIO Console, or use it’s processors as effects on individual tracks.  I cannot recommend the ULN8 highly enough.

Of course, a device like this doesn’t come cheaply.  For those who have gear in this price range, they will know that to purchase this level of high end converters, high end mic preamps, DI boxes, digital mixer, outboard processors, and so on, costs far more than the price of the ULN8 alone.   But it’s money well spent.  The ULN8 is as bullet proof as any interface I’ve used, sounds superb, and has an unprecidented level of power and flexibilty.  I’ve bought and sold a lot of equipment over the years I’ve been recording, and the ULN8 is one of the few indespensible pieces I own.  And remember, I’m not writing the above while deep in the “honeymoon” phase of just getting this device; I’ve been using it for years now.

I have to admit, the idea of all-analog CV-based modular or semi-modular synthesizers has always intrigued me. But as a computer based musician, I need to be able to play an instrument not just from a keyboard, but from Logic. Also, designing my own modular synthesizer rig would be quite expensive.

Enter the Doepfer Dark Energy Synthesizer, Just announced at Musikmesse ‘09:

Definitely has promise…I’ll be watching this closely…

Here at Ember Studios, the Euphonix MC Artist controllers are an essential part of the setup. I use it to control my Mobile I/O, with the Monitor Controller permanently locked to the the Control Room functionality of the MC Control. The MC Mix and Logic Pro are an ideal paring. Really, my only complaint with the MC Artist system is that the mini-transport controls on the MC Control are not particularly ergonomically designed, and the jog wheel is a bit sketchy.

Enter the new MC Transport. This puppy looks like just what the doctor ordered:

When these are released, if it lives up to the demo, I’ll be bringing one in!

Some of you are Apple Logic Pro or Logic Express users. And some of you Logic users know that there is a very large online Logic community called the Logic Users Group (LUG). Well, the LUG has finally entered the modern era with a fully featured web platform and forums for discussions, etc. If you’ve not been there yet, please check it out at http://www.logic-users-group.com.

Yes, I’m involved with it. So on the one hand I’m biased. But on the other…don’t you want to get your sequencer advice from the lead singer/songwriter/guitarist of Ember After?!?

Orange amps are great sounding amps. Really, really great sounding amps. If you’re not familiar with them, they have a very “wooly” but solid British sound, midrange heavy and very “gritty” (think post-Zeppelin Jimmy Page) but they can still be clean (think Robert Smith of the Cure) or metallic (thing Queens of the Stone Age).

And they are know for their trademark tolex which is…wait for it…orange.

It’s not always orange, actually—you’ve been able to get orange amps in black for a while. But now, for this year only, Orange is offering their amps in white tolex at no extra charge.

You know, I think that Orange amps look really classy in white. And of course it would be a perfect match for my new Koll Sun Glide mentioned in my previous Geartalk entry. I’ve wanted an Orange amp for a long time…hmmmm….

Recently I took possession of my newest custom Koll guitar, which we dubbed the “Sun Glide.”

The original idea for this guitar sprung from my love of the 70s Gretsch White Falcon with the wire Bigsby. However, the Gretsch isn’t quite what I want. For one thing, I’m a little guy, and the White Falcon is thicker than I am! For another, the wire Bigsby White Falcons haven’t been available left-handed for years. Also, I’m partial to the 24.6″ scale of the Gretsch Duo Jet, not the 25.5″ of the White Falcon. Finally, my head is in industrial/experimental music, and I like to program MIDI and play softsynths with guitars as well.

Saul and I discussed what he could do, and what you see is the result. The body is very much inspired by the White Falcon, right down to it’s control layout and compliment. The neck and headstock is pure Koll, however, with his classic design and logo. The electronics, emblem, and inlay, however, is unique. All of this combines to give the Sun Glide it’s mojo.

Please forgive the quality of the photos!

The Sun Glide, Full Frontal:

The Body close up:

Electronics
Neck Pickup: TV Jones PowerTron
Bridge Pickup: TV Jones PowerTron Plus
Piezo Bridge: RMC Poly Drive IV piezo/13-pin system installed
Horn knob: piezo/magnetic blend
Upper knob: Master volume
Lower knob: 13-pin volume
Lower switch: Kill Switch
Upper bout top switch: 3-way pickup selector
Upper bout lower switch: 3-way master tone switch (middle=true bypass)

The Headstock:

The tuners are locking grovers with the Gretsch imperial-style tuning buttons.

The Sun Glide emblem:

Koll Guitars is located in the Pacific Northwest, I’m in the Pacific Southwest, and to me the hollow body Gretsch sound, even in metal music, is a very warm, organic sound…and yet here I was excited about playing a warm and bright guitar in very heavy and moody atmospheres—in a sense, bringing the sun to the darkness. The whole vibe reminded me of the Pacific Northwest Native people’s myth of the Raven stealing the sun. This emblem is a stylized depiction of Native art revolving around that story. That is also where the name “Sun Glide” came from.

Fingerboard Inlay:

The fingerboard inlay is a wonderful synthesis of the Gretsch “neo classical” fingernail style of inlay, and Koll’s beautiful art-decco inlay.

Output Jacks:

I realize that output jacks are far from the most exciting elements of a guitar, but this picture shows the best view of the gorgeous gold binding. When a mono guitar cable is inserted into the output jack the magnetic and piezo signal can be blended, but when a stereo cable is used, the piezo and magnetic signal can be split. The 13-pin cable can transmit the magnetic, piezo, and hexaphonic (MIDI-ready) signal down one cable.

It has a warm but bright sound thanks to being (mostly) hollow and solid maple. The pickups are quite high output, but still bright and defined. The piezo gives it even more flexibility, helping it achieve a “jangly” electric tone not usually associated with humbucker or filtertron equipped guitars.

This has been quite a long post, but I’m quite taken with this gorgeous instrument. I cannot thank Saul enough for his creativity, skill, patience with my odd requests, and execution of the Sun Glide. Every Koll Guitar is a masterpiece!