Caught in the shadow of lost idols and shaken faith, pop is wanting some new soul. Now, Ostgut Ton might be the last place you’d expect to look for one of 2016’s great songwriting fixes. (“Singing along” and “Berghain” tend not to be uttered together.) And yet, here we are. Virginia, the Panorama Bar resident, as a new record. And it’s an utter triumph.
Virginia, here with a superband of great producers as backers, has put together something with real heart.
Great songwriting is not very often part of the discourse in electronic music, partly because often there’s not a whole lot to talk about. Dance music tracks might have the ghost of song structure hanging over them, loosely, but they’re some other animal.
Fierce For The Night, by contrast, is an almost dizzying parade of hooks – verse to chorus. Virginia, it seems, had a string of hits inside her waiting to get out. She talks in the press release about improvising in gibberish. And that’s where this comes from – tuneful immediacy. It all has the element of what to me makes pop writing work, that feeling, “wait, I know this already, haven’t I heard this somewhere before?” (I remember hearing Paul McCartney talk about having that experience writing “Yesterday,” waking from a dream and being sure the song in his head someone else had written. Whatever part of our brain’s gray goo gurgles up the best melodies, reconstituted from the collected consciousness of everything else, it produces that sensation.)
There are bits so unabashedly catchy you smile in spite of yourself. Before writing this, I had to keep thumbing through the tracks – like, surely, there was some weaker track in there, right? Uh… no?
A lot of this is retro, to be sure, but in a way that feels honest and intimate, like proudly wearing out your favorite high-school t-shirt to the club, unironic in all the right ways.
“Bally Linny” roars out its groove to start the record, with “1977” showing Virginia oozing effortless funk. “Subdued Colors” is one of the fresher productions, setting slightly more obtuse construction against a spacious, forward-looking mix. “Funkert” is genius house, maybe the most at home in Panorama Bar’s world. The titular “Fierce For the Night” works perfectly as anthem, as does “Follow Me.” “Raverd” has fantastic forward-moving mechanical energy. When it hits a slower pace, as on “Believe In Time,” Virginia can find some soulful melancholy, too.
For me, “Bally Linny” and “Funkert” stand out as obvious hits – but there’s never a drop in consistency on this record, or anything that feels out of place.
Led by Virginia’s newly-expressed pop chops, the album is a nice group effort – Dexter, Martyn, and Steffi joining in. And their production values shine through, of course. It takes technique to nail this sort of well-trod ground, and the breadth of those producers’ musical experience is part of what makes this pop breed so convincing. It wouldn’t work without some history.
Actually, I have to take real issue with the press release on this one, as it seems to dance around that – at one point claiming the record “playfully defies the schematic formulas of Pop.” (The one predictable thing about music is generally that press releases always claim music is influenced by everything and nothing and that it “defies” something or other, whether it does or not. You can try that drinking game with my inbox.)
Anyway, no, I think it’s exactly the opposite. Virginia and company execute those formulas adeptly. When we complain pop music is “formulaic,” what we really mean is, someone tried to make convincing pop and fell short. Music that we dub derivative is usually music that just isn’t good enough at its formulas.
And yes, this does work on dance floors. I caught Virginia at her release party, with Dexter and Steffi (Steffi also known for her regular Berghain/Panorama stints). That was before I’d given the LP much listen, and I found myself dancing and singing along instantly. No, it wasn’t upstairs in Panorama, but downstairs on Berghain – a litmus test for how this is mixed. Fortunately, that live act is touring, so you may get a chance to enjoy. Do not stand still.
Mixing and mastering is crystal clear, everything perfectly defined in space, whether listening on studio monitors or headphones or the Berghain Funktion-One. (I was earshot from Tim Xavier who did the mastering, and now having repeated listening on vastly different systems, I’m humbled.)
This is what happens when all the right knowledge and heart comes together on a record, when someone who can master the role of DJ and vocalist, producer and bandleader is fully in charge with all the right people involved. And that needs to happen far, far more often. Because at this point, the night demands nothing less than fierce.
The post Virginia’s Fierce For The Night brings the heart house needs appeared first on cdm createdigitalmusic.
Video killed the radio star. Streaming killed downloads. Home taping is killing music. Is the cloud about to kill the mastering engineer?
Landr, the instant online mastering service, already looked a bit that way. The drag-and-drop service lets you download a track that is algorithmically mastered – no humans directly involved. The service says those algorithms were carefully tweaked not only by DSP engineers, but actual mastering engineers. It isn’t like the “mastering” preset on a compression plug-in your DAW; according to the developers, the system is adaptive and learns from analysis by genre of music uploaded. And it covers a lot of processes – multi-band compression, EQ, stereo enhancement, limiting, and aural excitation, with some manual adjustment provided to the user.
Now, there are various reasons why I wouldn’t trade a human mastering engineer for this – even if Landr sometimes achieves good results. I really rely on a human mastering engineer as a final pair of ears. That person may be the one who finds mistakes, or who judges professionally just how loud a track ought to sound in the first place. (The very existence of the manual controls here more or less eliminates its utility to me.)
But maybe Landr is finding its own place – one in which a mastering engineer actually can’t compare. And that’s its unique ability to happen instantly right when you upload a file. Like Instagram filters and the auto-contrast on your digicam, spell-check and the location finder in your Google maps app, Landr’s instantaneous, automatic operation is the whole point.
Let’s be honest: you upload something quickly to SoundCloud, you want it to sound loud (and good, but especially loud) right away.
Landr now links directly to SoundCloud to make that happen. Connect your SoundCloud account, and either log into Landr or create a new account (requires just an email and name).
For me, at least, Landr gave me four free WAV downloads. I’m going to do some testing of that and get back to you. As for SoundCloud, you get unlimited free uploads “optimized” for that service. Since Landr is normally paid, that’s already a reasonable deal. The finished, mastered tracks are uploaded directly to your account.
The move may say as much about SoundCloud as it does about Landr or mastering. It’s clear the world’s leading sound upload service wants to continue to offer a complete solution for sharing noises. And while users panic about rumored changes to licensing or other hype (more on that in a separate story), there is some evidence that SoundCloud still has ideas for how to lure you to upload to their site specifically.
So, whither the mastering engineer? I don’t think so. Apart from the factors above, the mastering engineer’s service have already expanded from just sending you a stereo master, to being associated with digital distribution and vinyl cutting. Landr’s biggest competition may be not mastering engineers, but “turning up the knob on your compression plug-in” – and there, I think Landr has the edge.
But beyond that, pay attention to this one. It’s the latest evidence that the sharing of music online changes more than just how you listen. It does also change how you produce.
A free SoundCloud option is now available once you connect your account to Landr.
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I am delighted to announce that the first book to be published in the Martial Arts Studies book series will be The Virtual Ninja Manifesto: Fighting Games, Martial Arts and Gamic Orientalism, by Chris Goto-Jones.
The publisher’s page for the book is here:
Here are some of the endorsements for it:
Daigo Umehara, The Beast: "Often misunderstood, marginalized, and mistreated, we, the gamers, train to acquire strategic thinking and analytical skills while making life-time friendship through fighting games. Goto-Jones uncovers this kind of engagement as the practice of pure discipline. This eye-opening and ground-breaking study is deeply significant to us, the gamers, revealing the connections between what we have gained through those experiences and the martial arts. As a gamer-philosopher, Professor Goto-Jones exposes the wonders of fighting games from an academic standpoint with unusual insight and passion. I completely agree that Street Fighter has made me the “better person” that I am today. Now kids have a legitimate reason to argue with their parents."
Tom Lamarre, McGill University: "By turns playful and profound, The Virtual Ninja Manifesto sticks to the pragmatic question: what sort of truths do we make playing video games? Demonstrating that the truths of video games cannot be judged in isolation from the benefits they produce for individuals in their everyday lives, Chris Goto-Jones overturns everything you thought you knew about video games but to forge a new path: this is everything you are already doing with video games but were too afraid to know!"
Ian Bogost, Professor, Georgia Institute of Technology: "There’s been a lot of talk about competitive gaming as ‘eSport’ lately, but the connection between videogames and sports has always been rhetorical more than material. Goto-Jones offers a creative and smart correction, thanks to Street Fighter: maybe mastery in competitive games can be re-interpreted as mastery in the martial arts, rather than expertise in sports. Anyone who’s interested in contemporary competitive gaming, from CounterStrike to WarCraft, Street Fighter to League of Legends, needs to read this book."
Ian Condry, MIT: "This magnificent book does what I thought was impossible: it makes virtual ninja real. For aren’t fighting games spaces of deep learning and transformation, the training grounds for a prosthetic selfhood that is both virtual and real? Isn’t synthetic violence a mode of personal cultivation that deserves respect? Chris Goto-Jones succeeds with his own ‘miraculous reversal play,’ bringing the virtual worlds of ninja into a contemporary, living public sphere, and offering a deep meditation — both philosophical and spiritual — on the timeless desire to face worthy opponents. For all you would-be ninja, this is a a must-read gem.”
We live in worlds of displacement. Some of those new geographies are chosen, are freeing. This is the age of cheap airfares, of migratory artists crossing oceans, of global communication and spontaneous international collaborations. Then, there’s the inescapable darker side: forced migration, refugees. There are flights of fancy, flights of exile. And as through the history of music, musical practice traces those human movements.
Karachi, Pakistan has served as a stage for very different kinds of displacement and resulting creative expression. Some of those were explored recently, which I glimpsed in a festival held by Berlin’s Hebbel am Ufer (HAU) dubbed From Inside to Way Out: Perspectives from Contemporary Pakistan.
Each was, in its own way, a meditation on the creative potential inside those displacements.
I’ll start with the musical activity. And this is significant, because the future of techno and DIY music is borderless.
German artist Andi (Gebrüder) Teichmann’s NOLAND label takes that challenge to the sort of heights you might get from a reality TV show context, with colliding international collaborations. Those can be impromptu, packed into short timescales, and even awkward – though awkward in a way that suggests growth.
Following a string of similar projects, the Karachi Files is a by-the-seat-of-the-pants superband set in the Pakistani namesake city. The debut record features:
Alien Panda Jury, Karachi
Arttu (AKA Lump), Berlin
Gebrüder Teichmann, Berlin
Natasha Humera Ejaz, Karachi
Ramsha Shakeel, Toronto / Karachi
rRoxymore, Montpellier / Berlin
Taprikk Sweezee, Hamburg
The recorded results are beautiful. Live, the stage was full of laptops – a little like someone decided to do a festival’s worth of sound checks all at the same time. And if that sounds like it might produce chaotic results, sometimes it did. Sometimes the project was more cacophony than collage, or at least runaway jam session. But it also produced moments of transcendence as beautiful pairings would emerge out of the goo – a delicate vocal crossing paths with an animated groove here, a rich electronic textural intersection there. So, this isn’t a criticism: we were listening to something in process, which to me was the point. And the recorded results, ordered into some compositional sense, tend mainly to that emergent hybrid.
I think this is probably just one scenario for trans-border musical invention, and I’m certain it shouldn’t be the only one. But it’s a valuable start. Maybe it’s the ice breaker that comes first.
And it suggests a challenge to all of us: think up new ways to facilitate collaboration, then practice and improve. It may be we now spend as much energy building collaborative chops as we do our musical ones. (Have I created collaborative scenarios or participated in improvisations that had rough edges? Oh, heck yes – that’s part of the fun, discovering those edges and seeing where they lead you next.)
There’s also an institutional dimension: the entire project was made possible by the Goethe-Institut. So if you tire of hearing about Germany and Berlin, be aware there’s a reason for that – Germany is making itself a cultural ambassador.
In the meantime, whatever the context, I really do love the music. And it makes me hear some of the solo artists, whose work I knew before this, in a new light.
The release comes out at the end of this week:
And you can learn more about the process of how it was made into those gorgeous results (from a new outlet in Pakistan, no less):
The Karachi Files: How local indie music collective Forever South is slowly making global waves
It is meaningful that this particular project was recorded in Karachi in May of 2015, as it was also a moment of tragedy for the city, a reminder of the fragility of our changes to work creatively.
The first thing I find talking to Pakistani people is that they immediately want to steer your mind away from its first associations – from conflict and crime, those reflexive fears driven by news headlines and imagined exoticism.
Of course, the fact that you’re reading these words suggest you, like me, almost certainly enjoy some privileges of safety denied to someone else. That someone might be on the other side of the world, or they might be just around the corner. What I find most moving about Sabeen Mahmud, the Pakistani activist and social organizer, was that she fearlessly created new spaces to allow creative possibilities, open exchange, and collaboration. In her case, this story throws issues of safety and freedom into sharp relief: in case you don’t already know, Sabeen Mahmud was assassinated last year. This to me is something I personally can’t wrap my head around: Sabeen did in many ways the kind of organizing I do, led the sort of life I live, and yet did it in a context I can’t comprehend and paid with her life at little more than my own present age. I can’t really fathom the world in which that takes place. But I can’t hear that story and not want to be humbler, to do more, and I expect that’s the reason her story spreads.
We got to meet Sabeen Mahmud’s mother, Mahenaz Mahmud, at HAU this month. She didn’t start out the presentation talking about her daughter, but her relationship with her own mother. And she spoke of Sabeen Mahmud’s work in the present tense. By those profound inversions, we came to understand this story from the perspective of her daughter, rather than her grieving mother, and in a way that made her daughter alive in the present tense.
If that was not enough to bring the spirit of Sabeen Mahmud to life in the room with us, her friend and colleague talked about his wish to bring her to Berlin, the last conversation they ever had together, about learning the news of her loss on a flight here.
But her work is alive. The space she founded, called simply The Second Floor (and the project of an NGO she founded called PeaceNiche), is still very active. If you happen to be in Karachi this week, you can catch an improv theater Friday, or take a tabla class Saturday. On Sunday, Muslim comics are roasting Donald Trump.
From my own limited work on human rights activism, I know that very often, perversely, it’s this kind of activity that can get you in the most trouble with the forces of darkness – the people staging arts events, the people planting trees, the pacifists, somehow most attract forms of repression. But that suggests maybe even more convincingly that it’s tiny gestures of political action that matter most.
You can learn more here:
The Life and Death of Sabeen Mahmud [New Yorker]
‘Bravest woman,’ free speech activist Sabeen Mahmud killed in Pakistan [CNN]
I think it’s impossible not to walk away from these events without a sense of urgency.
For more dining on ashes, the festival at HAU brought a narrative soundwalk developed by two artists who met in Karachi, Sonya Schönberger and Shahana Rajani. They brought the two cities of Berlin and Karachi together through the ghosts of their own mass tragic displacements – the aftermaths of World War II and the partitioning of Pakistan from India. Those stories, played into our ears as we walked on a warm May day (walks were held simultaneously in Germany and Pakistan), came from those who lived through the history.
I would always dream of my house – Stories of Displacement
In Berlin, we wandered the ruins of the former Anhalter Bahnhof, a train station bombed out in the war (like Görlitzer Bahnhof, now a park that borders my own flat). Those stories were then set against a sports field named for a world record-setting German athlete murdered by the Third Reich, and the facade and abandoned train platforms that remain from the station.
Maybe it was those reminders, though, that were hopeful – a study in contrast. I saw the sticker “I would always dream of my house” on a club wall. Recognizing a reference to the Holocaust amidst a dance floor playing cheery house music is a peculiar juxtaposition to say the least, if not an unfamiliar one in Berlin. The same club, in turn lies nearly in the shadow of a former guard tower from the wall.
In that very spot, the former “death strip” is now a park – there’s literally a skate park in a grassy clearly. This isn’t distant past, or remote exotic locale. It’s recent – the stuff of parents and uncles and grandparents. And it’s close – now as our circles become international, what happens in Karachi will soon seem something that happens in our own neighborhood.
So if we learn from Sabeen Mahmud, it means things that we do that may seem small or frivolous are in fact anything but – and that we have an imperative in everything, no matter how small, to be fearless. The only question is how we’ll share our worlds, and our music.
The title of the talk with Sabeen Mahmud was one that was apparently difficult to translate – the Pakistani members were a bit unhappy with “Dil Phaink” as “Throwing Your Heart Into the World.” Evidently the more idiomatic English was “wearing your heart on your sleeve” – the question being whether the action was voluntary. But therein lies the challenge: for artists, who often find their hearts exposed, whether we can learn to trust that vulnerability and follow it without fear.
Photos below from the soundwalk…
The post Karachi Files, Pakistan, and music in displacement appeared first on cdm createdigitalmusic.
At the moment when synthesizers are getting more economical, Moog are firmly establishing what the synth as luxury item looks like – and it’s this. The Minimoog model D is an exact recreation of the iconic original monosynth, starting production of that machine for the first time in three decades, down to even tiny details of circuits. And it’ll cost you – US$3499, limited run in America only.
That means we now have essentially two iterations of Moog Music. One is making luxury recreations of its original history, in their original form. The other is making new products and new designs – and for a larger audience (especially because of price).
Price alone isn’t really the issue. In fact, it’s easy to get hung up on the price and forget just how much more efficient production is now. The Minimoog model D Moog Music have just introduced is nearly a part-by-part recreation of the original. It even uses accurate through-hole rather than surface-mount production (which allows it to be more true to which parts are used). Yet it’s a hell of a lot cheaper than the original.
Get ready for some sticker shock. The 1970 Minimoog price, adjusted for inflation using the USA Bureau of Labor Statistics Consumer Price Index is…
Even deadmau5 would have trouble spending that much money.
The best part of the demo video is you get to hear Bob Moog himself talk about his creation:
But forget about the price for a second. What’s remarkable about the model D, like Moog’s Keith Emerson modular that came before it (at the last Moogfest, no less), is that it is an exact recreation. Think about that for a second. No other major brand is doing this. The closest is KORG, but their recreations are more modernized approximations – not unlike classic car reissues. And as such, their ARP and MS-20 were downsized and added features like MIDI; even the limited run full-sized MS-20 was modernized from the original and still kept a fairly low price tag.
The model D and Emerson modular are recreations, not approximations. They’re effectively starting up the old production line as if nothing happened.
The new model D at least gives you that recreation with extras. So there’s added modulation and CV, aftertouch, and MIDI. These you get in addition to the authentic instrument – meaning you can still imagine it as the original, but with some modern niceties. It’s a bit like owning a Minimoog mod. And those things I think move the appeal from eccentric to practical, if pricey.
But even with those changes, this is Moog Music as museum. And I think as a result not only the price but the peculiarity of what you get is likely to keep the model D’s appeal to a specific breed of musicians.
As historical curiosity, it’s fascinating. But it does, to me, represent something of a step backward – if an intentional one. Bob Moog himself didn’t repeat the Minimoog; he re-conceived it with the Minimoog Voyager, the very synth that launched today’s Moog Music.
Of course, that’s why I say there are two Moogs. The other Moog continues to imagine new instruments, like the Mother-32 and even new iOS apps. And these matter not just because they’re more practical or cheaper – they matter because they’re genuinely new. If you know the sound of the Minimoog already, you can find new sounds in their latest creations.
But I sure I’m not alone in saying this: the model D, while fascinating, still makes me long for a new Voyager — or Moog Music’s take on a polysynth.
Maybe what’s compelling about the synthesizer is that it does constantly transform. The history of the violin and the piano were eventually stunted (something even some acoustic builders what to change). The synthesizer can be an instrument that’s perpetually reinvented. And so that means I’ll keep looking forward to the new creations from Asheville, North Carolina – even as I marvel at the achievement of historical recreation.
Synthtopia shot some photos.
And our friend, the wonderful Nick, talking about the reissue to Synthtopia:
Plus they take a look inside:
And another take on this instrument:
The post With the Minimoog reissue, there are now two Moogs appeared first on cdm createdigitalmusic.
In the heart of Brazil, baile funk is charting a new direction for bass music – soaking up influences from across the ocean in UK, mixing and evolving. And so we’re keen on the latest cut from Lisbon’s Enchufada label – that’s the label behind the likes of Buraka Som Sistema and Branko – a new collaborative gem.
The project is called 777, the product of a pairing of Marginal Men and Viní, off a forthcoming EP by Marginal Men. And the first cut is crisp, modern, with a finely-tuned slightly-dragging groove to it, and some surprising cinematic bigness – it really does sound like some new style we haven’t heard before. (We’re not quite exclusive on CDM, because the management got excited and had to share … which is an impulse I understand.) Listen:
Go get it:
Bandcamp – bit.ly/777-Bandcamp
Spotify – bit.ly/777-Spotify
iTunes – bit.ly/777-iTunes
Marginal Men also host what I’m told is Brazil’s hottest club night – the bass-heavy “Wobble” parties. That event, like this music, cross-breeds the local Brazilian sound with top acts from the UK.
We chatted via email with Marginal Men about their release, in a trans-Atlantic chat:
CDM: Love the sound of this track, certainly. How would you describe its influences, where it came from?
The main influence behind 777 is work of MC TH, a baile funk crooner from Rio. He really blew up last year with beats from guys like DJ Yago Gomes, LD do Martins and DN de Caxias. We are big fans of his sound and always look forward to hear more from him, so when we started to talk with Viní about this track, his name was the first to come up.
What’s the concept and spirit behind the release?
The main idea behind this tune and the whole EP is to connect the baile funk sound with different bass music styles. We always tried to show how we imagine this connection through our DJ sets. Last year, we released two mashup EPs on Arrastão, and we consider our new EP that is coming out in June as a next step in this work — our expression on how we see this connection.
Care to talk at all about the production process? What’s in your studio?
We use Ableton Live 9 and most of the sounds come from iZotope Iris 2 (thanks Imaabs!) and NI Massive.
The studio set up is a MacBook Pro, [Native Instruments] Audio8 soundcard, KRK RockIt 8 monitors, Icon MIDI keyboard and a Digidesign Command8 control surface.
On 777, we collaborated with Viní. He is on FL [Studio]. So we bounced the stems from Live to FL and back. At the end we added his stems to our original project so we wouldn’t lose power with all the resampling.
Help us imagine what it’s like to walk into a typical Wobble night. Who’s there, who’s playing, what’s happening?
Fabio Heinz is WOBBLE’s resident warm up DJ. He starts the dancefloor mixing up the latests rap/grime releases with uk dubstep. At the end of his set, an up-and-coming MC from Fabio’s label RWND Records usually steps in to test some unreleased stuff.
Most of the nights we play after Fabio. We love that second spot. We can start slow and keep going up the bpms.
After us normally comes a guest. Names like MC Bin Laden, Branko, DJ Earl, DJ Marky, DJ R7, Sango, Scratcha DVA, Sants, Nectar Gang, Neguim Beats, Plastician and many others already played with us at WOBBLE. We try to bring always bring new sounds and also check in again with our favorites.
To finish our night with great style we bring next our third resident DJ – Rodrigo S. He is Rio’s DnB legend. His mixing is always on point, he never disappoints and always brings new hits from different bass mu.
But we can’t talk about the party without mentioning the most important part the dancefloor crew. They know and appreciate the sound. The response and energy of the crowd is very important to us. This emotion that can be felt when we play for them. That’s what it is all about.
More from Marginal Men:
More Enchufada goodness: The label hails from Lisbon, but brings you “new music from weird places.”
The post Premiere: hot baile funk from Brazil, Enchufada’s 777 appeared first on cdm createdigitalmusic.
What do you get when you cross a tiny patch bay with total mayhem?
Well, the bitRanger, apparently – a limited-run collaboration of Bastl Instruments and Casper Electronics (Peter Edwards), and possibly the most interesting surprise to come out of Moogfest this week.
Peter Edwards has not only moved to Brno, Czech Republic to join the Bastl revolution – a mad genius marriage if ever you’ve heard one – he’s also evidently been spending a lot of time in the woods. Maybe… a little too much time. Watch:
But, while it’s not clear whether or not Peter has lost his mind, we do get an absolutely delightful little invention. The bitRanger is a compact, battery-powered, patchbay-equipped wonder, focusing on repatching an “analog logic computer.”
That is, it uses Peter’s ongoing cleverness with circuits to let you wire up different patterns, whether you use them as a sound source directly or as a means of controlling other gizmos.
So, it’s a synth. But it’s also a pattern generator for other synths.
And it’s fitting that the bitRanger debuts in North Carolina at Moogfest rather than back home in Europe, because the creators are explicit about their connection to Moog’s own oddity, the Werkstatt synth. In fact, you can patch them together if you choose.
Patch it, you will, as in addition to four knobs and eight switches you get a full 100 patch points.
Americans can buy directly at Moogfest (where there’s a first limited edition at the special price of US$259), or look to the store Bastl and Casper have opened in Brooklyn, Detective Squad. Back here in Europe, you can order from the Bastl noise.kitchen site for 222€ (plus VAT) when it ships in June (I think literally when Peter and the Czech guys get back to Brno).
Or, of course, if you happen to be touring Brno to see what all the fuss is about, you can get it from them in person. I recommend drinking some Kofola (caffeinated coffee soda) to get your head ready to do some analog patching. But it’s possible I’m just trying to comfort myself in the fact that I’m not at Moogfest.
Hope to get one in for review, though.
The post The new Bastl bitRanger is handheld patchable insanity appeared first on cdm createdigitalmusic.