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MOOG – Introducing DFAM (Drummer From Another Mother)


MOOG – Introducing DFAM (Drummer From Another Mother)

Today we introduce the first addition to the Mother ecosystem — DFAM (Drummer From Another Mother) is an original electronic instrument for the exploration of new concepts in rhythm and resonance. This highly-interactive, Semi-Modular Analog Percussion Synthesizer is a vibrant deviation from the traditional drum machine — presenting an expressive hands-on approach to percussive pattern creation.

DFAM has already begun shipping from the Moog Factory and is available now at Authorized Moog Music Dealers worldwide.

Step into the creative spaces of DJ Haram, Stud1nt, and Umfang, three members of the Discwoman collective as they explore the new DFAM Semi-Modular Analog Percussion Synthesizer.

Learn more about DFAM here.

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The 624 wins a 2018 Electronic Musician Editors’ Choice Award

Motu 624 Winner

The 624 wins a 2018 Electronic Musician Editors’ Choice Award

“A portable interface for every occasion.”
— Electronic Musician

Read more here:



In addition to being compact and ruggedly built, the highly portable MOTU 624 is designed for a wide range of users—from singer/songwriters to industry professionals. For the former, MOTU put a pair of ¼-inch, high-impedance inputs (with gain knobs) on the front panel, giving guitarists and bassists easy input access. For the latter, the rear panel includes two XLR mic inputs, sets of four TRS input and output jacks, in addition to its main outs and optical digital connections accommodating S/PDIF or ADAT I/O.

As you would expect, the 624 is capable of 24-bit, 192kHZ resolution with pristine clarity, thanks to the interface’s new converters. But what helps this model pole vault over its competitors is its wealth of interfacing options. The 624 is a hybrid interface sporting USB3, Thunderbolt 2, and AVB connectivity. A recent firmware update allows you to record directly through Ethernet to any Mac that can also support Thunderbolt. And, you can network up to five AVB interfaces via Ethernet, which can support long cable runs and recording setups in multiple rooms.

Compact audio interfaces are in plentiful supply these days, but few can approach the versatility, sonic quality, and generous I/O of the MOTU 624.

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Ride the Ancient Waves Into the New Year!

Elektron Update

Ride the Ancient Waves Into the New Year!

Ancient Waves

Sound Pack for Octatrack by Pact Infernal

If you’re looking for nuance and texture in your samples, check out the new Ancient Waves Sound Pack for Octatrack. Drum, bass, drone, pad, and effects sounds suitable for scores and songs with just that little extra bit of intensity. These samples tickle the imagination and stir things up from a fantastic, archaeopsychic past perhaps better left undisturbed.
Created by unrivaled masters of ritual ethno-techno Pact Infernal.

Status update on Digitakt OS

As we approach the end of the busiest year in Elektron’s history, we regret to inform you that, despite tremendous effort, we will not have the new Digitakt OS ready until next year. We’re sincerely sorry for the inconvenience, and we’re working hard to get it done.

We will keep you posted on the development in the new year, and hope for your continued patience and understanding.

Fresh factory content for Octatrack MKII

We’re happy to announce that the Octatrack MKII factory content is now wrapped up and ships with all machines. If you purchased previously, you’re able to download this content free of charge. Visit for instructions.

The Octatrack MKII factory content features a vast and varied selection of loops and one-shots created by renowned sample foundries such as Samples from Mars, Loopmasters, Sample Magic and Origin Sound. In short, it’s the perfect starting block for your next master piece!

OS updates for the Analog MKII units

The operating systems for both Analog Four MKII and Analog Rytm MKII have been updated to 1.30B and 1.40B respectively. Both OS:s introduce some minor changes, and has fixed a number of bugs.

Analog Four MKII OS 1.30B
Analog Rytm MKII OS 1.40B

MusicRadar reader’s poll results are in!

And they are certainly Elektron-heavy. Digitakt snagged the number one position in the drum machine category, closely followed by Octatrack at number three, and Analog Drive was voted the best new hardware effect.

We’re honored, and thank you all for your love!

Elektron Talk: Chris Hülsbeck

Please meet the humble video game composer Chris Hülsbeck. His works have made an impact on nearly every platform since video game music was even possible. Giana Sisters (Commodore 64), Turrican (Amiga, SNES, Megadrive), and Star Wars Rogue Squadron (PC and console) to name just a few. We intercepted him in his motor home (in which he lives, works and travels across the United States) somewhere under the Arizona sun, to talk about life, work, and his brand new Digitakt.

Upcoming Events

Forthcoming Elektron related events around the globe:

Jan 25-28, 2018 | NAMM 2018 | Anaheim, CA, USA

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Review – Vanguard Audio Labs V44S Stereo Condenser Microphone

Vanguard Audio Labs V44S Stereo Condenser Microphone

Review – Vanguard Audio Labs V44S Stereo Condenser Microphone

In this video review for Pro Tools Expert, popular and influential pro audio web service, Technical Editor James Ivey takes a look at the Vanguard Audio Labs V44S Stereo Condenser Microphone.
James starts by using the V44S for his voiceover, which has to be said is not a normal use for a stereo mic but by moving around the mic James demonstrates how easy it is to set up the V44S for Mid-Side (M/S) and Blumlein recording with both Figure-of-8 and Omni pick-up patterns.

James then goes on to demonstrate how he has been using the V44S for room mics when recording a string quartet and full-on rock drums.

The Vanguard Audio Labs V44S in James’ description:

“The V44S is a stereo large-diaphragm triple pattern FET condenser microphone that the team at Vanguard have lovingly crafted over 2 years. V44S is designed to be a versatile and reliable, tool following in the footsteps of the highly sought after vintage stereo condensers that you can neither find nor afford in 2017.

With its pair of coincident twin custom made multi-pattern capsules, the mic can easily be configured for X/Y, Mid-Side, Blumlein, and other less conventional stereo microphone techniques. The detented heavy-duty rotation mechanism, versatile splitter box, top quality cryogenically-treated FET circuitry, and a VLSM shock-mount help make the V44S is a truly stunning mic package, and in the words of the famous UK TV add, I liked it so much, I bought one.”

Now, last but not least is the link to the video clip itself:

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Moog Demo Library Video


Moog Demo Library Video

Subsequent 37 Step-Sequencer Strategies

Discover the creative possibilities of the Subsequent 37’s sequencer in step-edit mode. Today’s video release from the Moog Demo Library illuminates the sequencer’s fundamental functions and expanded operations, opening new portals of expression.

Watch ‘Subsequent 37 Sequencer Basics & Step-Edit Mode’ below:

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John Hanna’s Heritage – A Tale of Many Consoles


John Hanna’s Heritage – A Tale of Many Consoles

“Unless you are a Tibetan Monk you have heard of Audient!” laughs John Hanna, lawyer, musician, audio engineer, entrepreneur with a voracious appetite for ‘profitable opportunities’ and all round force of nature, describing his journey to finding the ASP8024 Heritage Edition console.

After having “…used or owned a lot of different consoles” over the years, including API, a Trident Londoner, an MCI 636 and a Trident 80B (which he modified the heck out of, until it bore no resemblance to the original board), he decided to look for his dream desk further afield. Across the Atlantic to be precise, where console manufacturer Soundcraft caught his attention. “Having owned several Soundcraft Sapphyres, I followed the designers of that console which led me straight to Audient.”

John Hanna | Joe Clapp | Paul Savasta behind the Audient ASP8024-HE at Ultrasound Production Studios

Taking pride of place at the heart of Ultrasound Production Studios, Massachusetts, the current Heritage replaced his ASP8024 which up until then he was very happy with. “The Heritage has every upgrade I could ever want. This is only the second console I ever bought brand new. I love this console so much that I have told Paul Savasta at Odyssey Pro Sound [local dealer who supplied the Audient Heritage] to get ready for a second order, as I plan to install it in my house!”


Before we get to that, let’s find out what it is about this British console that John delights in. “I love the dimensions and the layout. My console is 36 channels yet I don’t have to take a train to get from channel one to 36. Big boards are cool looking, but when you are getting up and down to go from one end to the other, you don’t realise it, but you start compromising and only work in one area of the console. I feel like I am on a big board with your console…yet everything is right in front of me and always in reach.

“I love the layout and signal flow; I like the inline design and really love the colour scheme. The two colours really make things fast and easy. I love the auxes. These days you can spend fortunes on cute systems and you just do not need it with the Audient.

“I love 24 busses. One: it’s a throwback to analogue which to me is classic, but more importantly to me it’s an additional effect send if needed. It also has splittable EQ. I like the Audient EQ – it is so friggin’ flexible!  I could live with the board EQ alone without a problem.


“Which brings me to the mic pre. I like the mic pre a lot. It’s natural. Pure – I like that.  I am very comfortable using the mic pre’s and I have found that other than using my CAPI V28’s and Dakings for certain tones, I am all ITB, meaning …IN THE BOARD!

“Does that mean I am selling all of my other outboard gear? I wish. I don’t have the guts – simply because I am a business and I have to offer whatever a client wants.  But for me the Audient is everything I need. The CAPI’s, Dakings, and API’s are icing.


“Oh, and let’s not forget the master section. You guys hit a grand slam. You can tell you must have listened to your client base, because from the knobs to the added iron features the console is everything you want. On my Trident API I had a mod to add iron to the two buss to do exactly what your console does. On the Sapphyre I would run the two buss into a pair of Capi’s to add that tone. You guys have it on a push of a button. Amazing!”

So for now, John has his dream console…or does he? “I would like to add: my next Audient will include a patchbay. I regret not having your factory bay as it is well built and well thought out.”John kept up the music all through his studies at law school, and today he can be found at Ultrasound Productions – a studio packed with gear, which does in fact make money. “It’s getting very hard these days,” admits John. “Not so much to get clients, people still want to play and record, they just can’t justify spending the money.”

We’d better get ready for the call from Odyssey Pro Audio then. In the meantime, a big thank you to John Hanna for taking the time to chat to us.

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Barefoot Sound – Masters of the Craft Featuring Travis Barker

travis_barker barfoot

Barefoot Sound – Masters of the Craft Featuring Travis Barker

In Travis Barker’s Own Words

What it means to be a master of your craft. I would say you have to eat, sleep, and breathe your craft. You have to go to sleep thinking about it, wake up thinking about it, and just be obsessed with it. I feel like you have to discipline yourself, especially if you want to evolve, and you want to push the envelope, and just keep getting better.

“I felt like I’ve really been able to jump in multiple genres and know them really well and not box myself in”

I knew music was a career for me by the time I was in high school. Everyone I skated with was learning how to play guitar or bass, or sing. I’d already been playing drums since I was like four. I had already given up on trying to be a professional skateboarder and I realized I was way better at playing the drums than I was skateboarding.

I draw inspiration from everything. It could be just an experience, just a life experience. It has nothing to do with music. I could listen to a jazz record, a Buck Owens record, a Johnny Cash record, even the programming on EDM records, trying to figure out those drum patterns on a drum kit that normally wouldn’t be played on something like that. I kind of draw from everything.

I was raised on Miles Davis and Chick Corea, and I would listen to the Farside, and then I would go listen to Minor Threat. I always loved having everything and knowing a little bit about everything. Then it’s funny because as I grew older and in my career as a musician, I felt like I’ve really been able to jump in multiple genres and know them really well and not box myself in because I would get really bored playing the same genre of music over and over again.

My process for writing at my studio could just be marching drums in quints and shakers and all percussion. Another day, I could be on the machine just building a beat, or collaborating with someone on Ableton, or completely live drum kits. It just depends on the project and what it calls for.

“I first saw a Barefoot Sound speaker and my jaw dropped”

What I look for in a studio monitor, especially if I’m just using studio monitors and I have a setup that I take everywhere with me that’s kind of a mobile setup, just something versatile. I work on a lot of different projects. It could be a Transplants or Blink album, and in the same day, something for my solo album that’s like a hiphop project. So, I need something that’s versatile, that’s not just bass-heavy, that rock music sounds good out of, but at the same time, if I challenge it, it has some kind of sub, and not tap out. Versatility, I think, is the main thing I look for.

I first saw a Barefoot Sound speaker and my jaw dropped. We were working on the Blink album and John Feldmann was trying out all these speakers. I said, “I don’t even care what those sound like. They look so amazing.” Then I started playing a bunch that I was working on through them and I was just in awe. Barefoot Sound was the best first impression and lasting impression for me. – Travis Barker, Musician & Record Producer


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Jacob Collier and Grace Design


Jacob Collier and Grace Design

Grammy Winning multi-instrumentalist Jacob Collier talks about working with his Grace Design m108 microphone preamplifiers and m905 monitor controller in his newly updated recording studio.

Learn more about Jacob:…

Learn more about Grace Design:

Video produced and directed by:
Russ Hughes

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Four Audient ASP8024 Heritage Edition consoles are now central to teaching brand new sound engineering courses to students at Massey University. Arriving at the New Zealand campus along with 26 iD4s and four iD14 audio interfaces, which boast the same mic pre technology from the flagship consoles, there is an assured consistency in sound quality across all the teaching studios.


“The studios are brand new, so having decent desks to start with was important to us,” says Sound Design programme leader, Neil Aldridge, welcoming the 48, 36 and two 24-channel desks to teach Music and Sound EngineeringThe Recorded Work and Mixing and Mastering. “The students took to the Heritage consoles like ducks to water, and having the same desk in four control rooms, means that they can move from one room to another without any trouble at all.”


He continues, “I love the signal flow on these consoles. Moving from tracking to mixing is so natural, the Heritage melts into the background, allowing your creativity to come to the fore.”

It was just over a year ago that 25 of Audient’s larger iD22 audio interfaces populated the university’s iMac lab, just in time for the debut of the new Commercial Music degree course, which Aldridge tells us “is going from strength to strength.  As the new courses come online, and we get more students, we are seeing an amazing cohort, and are looking forward to seeing what the students go on to after they graduate.

“For me, a continuing delight with the iD22s is that they just work, and continue to sound great.  No fuss, no bother — a solid piece of intuitive kit.” He adds, “The success of the iD22s definitely informed our decision to get the Heritage desks.” As well as investing in the smaller audio interface range from the British company. “The iD4s are being used in our Mac Lab.  They are used for the Music Studio Productioncourse, which is based around Logic Pro X and takes a more in-the-box approach.  And also for the sound-to-picture course Introduction to Audio Production and Sound Design, which is a post-production course based around Pro Tools.”


Aldridge confesses to having been a fan of Audient for a while, thanks to co-founder, David Dearden’s designs. “The first studio I worked in had a DDA D series, so I know the DDA sound. Also, knowing Dave’s work, and having used the iD22s for a while now, I had total faith that the sound and build quality of the desks would be what we were after. I wasn’t disappointed.”


As well as the studios themselves, Aldridge is pleased with how the department is developing overall. “As a school, both faculty and student numbers are growing.  It’s a very natural growth, and feels like the family is extending in the best possible way!” Indeed, time will tell; Aldridge certainly has great confidence in what he’s seeing. “Watch this space, there’s a lot of talent moving through these studios…”


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Institute of Contemporary Music Production (ICMP) Celebrate 1 Year With Their ASP8024-HE

Audient Consoles

Institute of Contemporary Music Production (ICMP) Celebrate 1 Year With Their ASP8024-HE

Reflecting on the last 12 months, ICMP’s Facilities Manager Chris Catchpole says, “ICMP was delighted to be the first customers of Audient’s ASP8024-HE console. The desk is the focal point of the teaching control room and has proved to be an essential component in helping our students develop the skills and techniques essential for them to master modern music production,” he explains, underlining the Institute’s commitment to providing the best teaching and learning environment possible.


Stuart Cooney, studio engineer and lecturer in guitar and music production at ICMP adds, “It’s got such a great crisp sound and retains lovely clarity the more you throw through it. The desk runs very intuitively at any session, whether you’re using two channels or 24, and the mic preamps are smooth and well-balanced – even when cranked. It’s got a great vintage edge but I can always get the sound I want out of the Heritage.”

Audient’s marketing manager, Andy Allen concludes, “This past year has seen the first graduate of the Audient Scholarship and hundreds of students learning their craft on the ASP8024-HE. We look forward to seeing what the next year brings.”