Terrence O'Brien

The name Moog is basically synonymous with bass. The company has pumped out countless synths over the years from the iconic Minimoog Model D, to foot-operated Taurus, to the modern-classic Sub Phatty that deliver incredible low-end. Now its plumbing those depths even further, but in plug-in form, with the Mariana, which obviously gets its name from the Mariana Trench, the deepest place on Earth.

The architecture of Mariana is different from almost any other Moog out there, in physical or virtual form. It's a dual-layer synth, with both layers feature two oscillators and a sub oscillator for some seriously thick tones. Each layer also has two filters, a low-pass and a high-pass, plus a dedicate filter just for the sub. In addition to those core sound-sculpting tools, there's three LFOs, three envelops and two random generators per layer, plus a saturation circuit, a compressor, chorus and delay effects. 

When combined with the powerful modulation system that lets you control almost any part of the synth with any other part you get an incredibly rich and complex instrument — especially considering the price. Mariana is $30 on iOS or $99 for Windows or macOS, though it's 50-percent off as part of an introductory offer ($15 and $49, respectively).

Mariana does live up to its name. I got to play with it for a couple of days and, boy howdy, is it bassy. It stacks up quite nicely against other bass-focused virtual synths and Moog emulations from other companies. It can delivery enough sub bass to literally rattle your skull, without getting super muddy. Obviously that can vary a bit from patch to patch, but for the most part the sound engine delivers on its promise.

While most of the roughly 200 presets are focused on bass, there are a handful that explore other sonic territory. There are some particularly solid plucky leads that hit with all the oomph of the bassier patches, they just shine in the higher registers. Some presets showoff the wilder side of Mariana that can take advantage of the robust modulation features to spit out some wild-sounding effects and decidedly un-Moog-like tones.

Mariana also has MPE support. While it's a nice feature, it's also of limited use here. While you can switch it to duophonic mode and play the two synth layers independently, it's primarily a monophonic instrument. And while being able to perform slides simply by running my finger over the Push or Seaboard is nice, it doesn't really take advantage of the polyphonic part of MIDI Polyphonic Expression. 

Moog Mariana's modulation options.
Moog

What Mariana does lack, is a sequencer, arpeggiator or a deep list of effects. That's not necessarily a bad thing, though. Chances are, if you're using it in a DAW as a VST then you've got plenty of options for those things. So, while a lot of other plugin makers are loading up their virtual instruments with all sorts of features, Moog stayed focused on the synth itself. 

It's not without its quirks, however. While the interface is easy to navigate once you've gotten used to it, I'm still not a huge fan of skeuomorphic designs in general. And while I'm willing to cut Moog some slack on that front since it's trying to maintain a consistent aesthetic that capitalizes on its long legacy of analog synths, there are some slightly questionable choices. For one, the two separate slide out panels on either side for modulation controls seem like they could easily be combined. And the buttons to expose them are separated from the rest of the synth's controls — a dedicated tab within the main UI alongside the synth and mixer sections would probably make more sense.

It's also nigh impossible to read a knob's position by default. The tiny dot that indicates what a parameter is set to all but disappears on smaller notebook screens (and I can't even imagine how hard it would be to make out on a phone). There is an option called "knob position highlight" in the settings that extends a line from the center of the knob that's much easier to see. But I encountered a bug where, every time I'd minimize the window for Mariana in my DAW the lines would disappear. I'd have to go back into the settings to disable, then reenable it to make them pop back up. Besides, that should probably be on by default.

Lastly, it's worth mentioning that Mariana is an absolute resource hog. Admittedly my studio laptop — a roughly five-year-old Dell XPS with an eighth gen Core i7 —isn't exactly top of the line anymore, but I never saw my CPU usage dip below 50 percent in Ableton while Mariana was loaded, and it routinely spiked to around 80 percent while actually playing, leading to a number of audio artifacts. For comparison I can generally load six or seven instances of Arturia's Pigments or Analog Lab V without even crossing the 25 percent threshhold. And it's only with all of those actually playing that I climb above 50 percent. 

Still, Mariana sounds great. And there's a lot of power under the hood. If Moog can get its resource usage under control in a future update it would be well worth the price.

This article originally appeared on Engadget at https://www.engadget.com/moog-mariana-is-a-virtual-synth-all-about-plumbing-the-depths-of-bass-151914123.html?src=rss

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If you've read any of my music gear reviews on Engadget, then you probably know that I love all things broken and lo-fi sounding. And you might also know that Chase Bliss is one of the best out there when it comes to making your instruments sound like they're coughing up digital dust after crawling out of a decades long hibernation. The company's latest pedal, Lossy, is a collaboration with Goodhertz, a top notch plugin maker that has an incredible lo-fi pedigree all its own. In fact, it's based on the company's VST effect of the same name. 

Lossy takes whatever you feed it, and makes it sound like a crappy MP3 from the late '90s. It's a realtime digital degradation machine that introduces artifacts, resonance and crunch that will bring back warm memories (or chilly nightmares) of waiting hours for a single bootleg to finish downloading from Napster. 

The heart of the pedal is the Loss control which has three different modes and determines the overall character of the sound. It can deliver the familiar sound of a low bit-rate MP3 (Standard), play only those frequencies stripped out by compression for an especially tinny tone (Inverse), or spit out washes of out of unsteady glitches (Phase Jitter). 

Of course, there's lots of variety within those three modes depending on how high you have the Loss and Global knobs turned. While Loss determines the total amount of the effect, Global is a macro that sets the intensity of the effect. These two things combined shape the core sound, but the Packets switch is also vitally important. When off you just get the core Lossy sound, but you can turn on Packet Loss for dropouts reminiscent of a bad cellular connection, or switch it to Packet Repeat which fills those spaces with frozen audio for something more akin to a skipping CD. The Speed knob determines how often the effect interrupts your playing.

There's also a dedicated Freeze function, which is unlike any other I've seen on a pedal before. Rather than simply grabbing the last fraction of a second of audio and repeating it ad nauseam, it actually evolves over time. It stretches out notes, changing as you play to create ambient pads, drones and shifting soundscapes. 

Rounding out Lossy is a filter and reverb section to help glue everything together. Plus there is a hidden limiter and auto gain function that brings all the nuances your playing to the fore and ensures the tiny details of the Loss effect aren't, well, lost.

Last year Chase Bliss shifted to a direct to consumer model so, the only place you can pickup a Lossy is straight from the company's website. It's available now, however, for $399 and buying a pedal gets you 50-percent off the Goodhertz Lossy plugin that inspired it, which is normally $79.

This article originally appeared on Engadget at https://www.engadget.com/chase-bliss-and-goodhertzs-lossy-is-a-pedal-that-makes-your-guitar-sound-like-a-crappy-mp3-141611147.html?src=rss

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I am, primarily, a guitarist. Dabbling in keys and synths has always felt a bit unnatural from a physical standpoint. A keyboard doesn’t respond the way a fretted instrument does. This isn’t surprising, nor is it a bad thing. It’s just not what I’m used to. The better part of a decade into my journey with synthesizers, I still find myself wiggling my fingers as if it’s going to create vibrato, or trying to “bend” one note while keeping the other rooted to create shifting harmonies.

I’ve tried my share of MPE (MIDI Polyphonic Expression) controllers, which can capture some of that nuance. But the Roli Seaboard Rise 2 is the first I’ve played that manages to deliver all of that expressiveness without also being an unmitigated headache in some way. It’s probably my new favorite MIDI controller. But, I still have a hard time recommending it to most people.

The immediately obvious issue is the price. $1,399 is a lot of money for a MIDI controller. There are some MIDI controllers that come close, but they generally have more generous software bundles; more extensive controls (including faders, knobs and pads); transport controls for your DAW; built-in arpeggiators or sequencers; and screens for viewing parameters and browsing presets.

Of course, what those controllers usually lack is MPE functionality. And it’s not like the Seaboard Rise 2 isn’t a premium device. It’s constructed almost entirely from metal, save for the silicone keybed and the small selection of controls to its left. It feels extremely durable, and I’m pretty sure I’d have to go out of my way to do any significant damage to it. Despite that, it’s also surprisingly thin and light. At roughly 33 inches, it’s slightly longer than your average 49-key controller, but it’s less than an inch thick and only a hair over 12 pounds. And that’s despite having a battery that can last eight hours when connected over Bluetooth. For comparison, Arturia’s batteryless Keylab 49 MKII is nearly 3 inches thick and tips the scales at 14 pounds.

Roli Seaboard Rise 2 from the side, and looking quite svelte I might add.
Terrence O'Brien / Engadget

I’d stop shy of calling it portable, but it’s certainly luggable. I’ve moved it around my home studio quite a bit and it seems easy enough to drag to a gig, especially if you pick up the $100 soft case.

You’re not buying the Seaboard Rise 2 for the portability, though. You’re here for the continuous “Keywave2” surface. And let me tell you, once you get over how strange it feels it’s pretty incredible.

It’s important to note that I’ve never played the original Seaboard Rise. But I have used many other MPE controllers, including Roli’s Blocks lineup. They’ve all had some sort of significant shortcoming, and the Roli Blocks were borderline unusable. Almost everything I’ve tried has felt either like a novelty or a prototype, rather than a consumer-ready product. (The two exceptions to this being the latest Ableton Push and the Expressive E Osmose, though they’re very different devices with drawbacks of their own.) So, while I’m fascinated with MPE and think there’s a lot of potential in the technology, I came into this review with pretty low expectations.

The undulating and squishy
Terrence O'Brien / Engadget

But, the Seaboard Rise 2 feels like the first time a company has gotten almost everything right in a standalone MPE MIDI controller. The subtle “Precision Frets” make feeling your way around the keyboard much easier. I am not a skilled pianist or keyboard player who’s doing lightning-quick scale runs based entirely on muscle memory. Still, I welcomed their addition. They made it a lot more obvious when I should stop a slide and helped me make sure my strikes were centered on the keys so I didn’t end up sounding out of tune.

The squishy silicone keybed also provides excellent feedback. Most other MPE devices I’ve used have very little travel, if any at all. You might as well be trying to play on a coffee table. Not the Seaboard. The “keys” (if you can really call them that) jut up, giving you a sense for where to put your fingers. The surface gently resists and bunches up under your finger when you’re performing slides, delivering much needed tactile feedback. There’s a lot of depth to the surface, too; this isn’t just a thin silicone skin laid over the top of some sensors. It’s not quite as satisfying as feeling a key bottom out beneath your fingers, but it’s actually easier to coax nuance out of the velocity and aftertouch than on more traditional controllers.

That ability to get subtle shifts in timbre, tone and pitch are what make MPE, and the Seaboard in particular, special. With the right combination of hardware or software, each note played can have its own unique expression. A basic example of this being controlling the filter cutoff of a synth patch with the slide parameter on the Seaboard. That means as you move your finger from the bottom of the control surface to the top, the filter opens up to create a brighter sound. But in this case you can raise the cutoff on the higher notes only to emphasize the melody, while keeping the lower register muted and droning.

The XY pad and touch sliders on the side of the Roli Seaboard Rise 2.
Terrence O'Brien / Engadget

Giving each note its own unique velocity, cutoff, et cetera can add incredible depth to even the most simplistic performance. In a more advanced example of how this might work, imagine a software instrument based on orchestral strings. On something like the Seaboard Rise 2, quickly tapping the keys and immediately pulling off could be used to play pizzicato for stabbing chords. But lightly pressing into the silicone surface would produce a slower attack, allowing you to play languid melodies over the top of sharp harmonies. Sliding your finger up to the top could add gentle vibrato to emphasize particular notes, and dragging it left or right would produce realistic glides that are normally only possible on an unfretted, stringed instrument, not a keyboard.

I highlight that example because the Seaboard seems especially suited to scoring work. While it’s fine for playing your typical lead and bass patches, it separates itself from the pack once you start exploring sounds that are slower and have more evolution. The slight dissonance I could introduce by moving one finger just slightly off the center of a key created this spooky atmosphere that I kept getting lost in. Maybe it was just the season I was doing most of my testing during, but all I kept thinking about was how much I wanted to score a horror movie.

The
Terrence O'Brien / Engadget

Clearly Roli knows this is a strength, because a lot of the presets in its Equator 2 softsynth seem geared toward soundtrack work. Normally, the plugin costs $249, but thankfully it’s included for free with the Seaboard Rise 2. It easily does the best job of showcasing the controller’s various powers. The unfortunate thing is, only a little over a third of the presets are MPE-compatible. And while it’s certainly a powerful instrument, Equator 2 has a number of quirks that keep it from feeling fully polished.

Perhaps the biggest of those issues is that, when you first install it, many of the factory presets are completely broken and nonfunctional. That’s because there are two additional libraries you need to install. But these are in a drop-down list, and there is zero indication that anything else is needed until you actually open the app and it repeatedly tells you that files are missing. I uninstalled and reinstalled Equator and all its preset packs, hoping that would fix the issue. It was only after some Googling that I discovered there were more required downloads hiding right inside the Roli Connect app.

The Roli Dashboard at least feels a little less slapdash, and it’s arguably a more essential part of the experience. This is where you’ll do all the necessary configuring, like choosing whether the Seaboard is in MPE mode or standard MIDI, selecting what MIDI CCs the XY pad controls and setting the sensitivity levels of things like glide and slide. You’ll basically always want to have the Dashboard open because, the unfortunate truth is, MPE is still kind of messy. Non-MPE-compatible instruments and plugins might not work right if you don’t switch the Rise to single channel mode. I’ve found getting MPE-enabled plugins to work properly in Ableton Live 11 a little tricky.

Roli Seaboard Rise 2

Even when you do get an MPE-enabled instrument (hardware or software) paired up with a controller like the Seaboard Rise, you’ll probably need to do some finetuning to get them completely in sync. For example, you’ll have to make sure the pitch bend range in both the Dashboard and whatever you’re controlling match up. If the Seaboard is set for a 48-note range, but, let’s say, Pigments is set for only two, slides will never land where you expect them and even narrowly missing the deadcenter of a key will result in chords that are painfully out of tune.

When everything works, though, it’s pretty special. The Seaboard Rise 2 is easier to play and more versatile than any other MPE MIDI controller I’ve tried. It’s probably the most successful showcase of what is possible with the technology.

Sure, it’s expensive, can be finicky to configure, and there are limited options for instruments that take advantage of its full expressive capabilities. But MPE-capable softsynths are likely only going to grow in popularity over the next few years. Most people should probably hold out and see what the consensus from reviewers is on the more affordable Seaboard Block M. But if you just want the best MPE MIDI controller you can currently buy and don’t mind shelling out for a premium device, the Roli Seaboard Rise 2 is it.

This article originally appeared on Engadget at https://www.engadget.com/roli-seaboard-rise-2-review-i-wish-i-had-a-horror-movie-to-score-150028305.html?src=rss

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Roli was an early poster child for the emergence of MPE (MIDI Polyphonic Expression). The company has had its share of struggles over the last 10 years, but it's still out there trying to spread the gospel of MPE. Its first product after filling for administration in the UK (kind of like bankruptcy) and rebranding as Luminary Roli was a redesigned version of its Seaboard Rise. It's a flagship, pro-level MIDI controller, with a price to match ($1,399). The new Seaboard Block M takes the company's signature squishy, continuous keyboard and puts it in a much more affordable and portable package.

The $349.95 Seaboard Block M features the same 5D Touch technology of it's bigger sibling. That means, when paired with the right instrument (and properly configured), you can play incredibly expressive melodies and chords by sliding your fingers around, pressing firmly into the foam like surface or quickly tapping it for sustained plucks. 

Where as the Seaboard Rise 2 is a 49-key controller, with multiple macro controls and its metal frame screams premium, the Block M has just 24-keys and pared back set of controls. Though, you can connect two Seaboard Blocks together to make one modular 48-key keyboard.

Roli Seaboard Block M
Luminary Roli

While Roli doesn't explicitly say what it's made from other than "premium materials... constructed to withstand the rigors of touring", it seems safe to assume the Block M is primarily plastic. It also appears to lack the "precision frets" of the Rise 2, which made it a lot easier to find your way around the keyboard simply by feel. 

It has inherited the dedicated MIDI-out jack from the Rise 2, at least. That means you can use it to control a DAW-less setup and skip the computer altogether. This is becoming a lot more common on MIDI controllers at any price point, but it's still a welcome development.

Of course, the number of instruments out there — hardware or software — that can take full advantage of the MPE controls here are still somewhat limited. The Block M does come bundled with ROLI Studio, does give you a few options for expressive playing. It's not quite as powerful as Equator 2, the company's flagship soft synth, though. 

Lastly, Roli says you can expect about 10 hours of battery life with Bluetooth on. Though, you can always connect directly to device with USB-C for zero latency and no worries about battery life. The Seaboard Block M is available to preorder now for $349.95, but it's not expected to ship until March of 2024.

This article originally appeared on Engadget at https://www.engadget.com/roli-is-making-is-squishy-mpe-midi-keyboards-affordable-and-portable-again-160044126.html?src=rss

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Austrian Audio is not exactly a household name. It was formed in 2017 following the closure of AKG's offices in Vienna. And it's mostly stuck to higher-end microphones and headphones. Now the company is dipping its toes into more consumer-friendly territory with the $199 MiCreator Studio, a combination condenser microphone and USB-C audio interface in an incredibly portable package. 

At 155 x 60 x 37 mm the MiCreator Studio is quite small, but I'd say a touch shy of pocketable. It's also surprisingly dense. 13 ounces isn't exactly heavy, but it's more than I expected the MiCreator to weigh just by looking at it. The heft makes it feel like a durable and well-made device. The only exception to this is the swappable faceplates. My review sample came with black and red plates, they look nice but feel a little flimsy. And the magnets that attach them to the sides are a little weak and I could see them easily coming off if tossed in bag. At least it comes with a soft pouch you can put it in so everything will stay in one place even if it does get jostled around. 

Austrian Audio MiCreator
Terrence O'Brien / Engadget

There are a pair of rubber feet on the bottom that allow the MiCreator to sit comfortably on almost any surface with little concern it'll get jostled around. And the mic capsule is suspended by rubber shock absorbers, so vibration shouldn't prove too much of a concern. If the tiltable head doesn't give you enough flexibility, there is screw mount underneath for attaching to a mic stand.

Controls on the unit itself are relatively spartan. On the front is a switch that changes the mic from high gain, to low gain or mutes it. And there's a knob for controlling monitoring levels or the balance between two sources when you have something plugged into the 3.5mm in/out jack on the back. Below that dual-purpose jack is a dedicated 3.5mm headphone output, and above it is a switch that allows you to set the input level of the additional input.

The switches for changing the input level are probably my biggest gripe with the MiCreator. The difference between the high and low settings are pretty massive. Yes, obviously you can tweak the levels in your DAW and most people will have no issue doing that. But personally I like getting my levels as close to right as possible without touching the gain in my DAW for maximum flexibility. 

Austrian Audio MiCreator
Terrence O'Brien / Engadget

I also found that the high gain setting still required me to get pretty close to the mic while speaking which resulted in a lot of breath and mouth noises. Probably exactly what you want when recording some ASMR videos, but it wasn't ideal for podcasting. Again, a lot of this is easily rectified with a decent pop filter. But that's one more thing to carry and slightly undercuts the portability factor.

Those minor nitpicks aside, the mic sounds great. They're highly directional so, despite the fact that they're fairly sensitive condenser mics, background noise is rarely a problem. And they capture a healthy amount of midrange and low end. That's essential for micing up, say, a guitar amp, and it tends to treat my lower vocal register well. But many will want to toss a low cut on their voice in post production.

That lack of tweakability on the gain is an issue again when you plug an instrument directly into the second input. Something like a synth with a master volume that doesn't alter tone is fine. But going direct in with my guitar was a little hit or miss. The most reliable way was to go through my pedal board and one of UA's amp sim pedals to give me better control over volume and tone, rather than relying on amp plugins in a DAW. Austrian Audio gets a ton of credit though for including an instrument cable in the box though that's standard 1/4-inch TS on one side and 3.5mm TRRS on the other side for plugging into the MiCreator. It might seem like a small thing, but it saves you from having to track down and order a rather unusual cable on your own.

Austrian Audio MiCreator
Terrence O'Brien / Engadget

The company also sent over one of its MiCreator Satellites. This is a second mic, without an interface, designed to pair with the MiCreator. It costs $99 but adds a lot of flexibility. For one, it's the exact same mic as the MiCreator, so you can use them as a stereo pair or for two people in a simplified podcast setup. But the included cable is also long enough for you to put one mic right up against an amp while capturing some room tone with the other. Or, you could mic an acoustic guitar with one and sing into the other. And the Satellite is truly tiny. This is one of, if not the, smallest full-fledged podcast studio you can can get. 

If there's one feature I would have loved to see, it's a standalone operating mode. If the MiCreator had a small battery and a microSD card slot so it could double as a field recorder, or capture an interview when hooking up your laptop or iPad is not really feasible, I could see it carving out a permanent spot in my day bag.

Still, for $199, or $299 when bundled with a Satellite, the MiCreator offers a surprising amount of value. Frankly it's better than it has any right being at that price. It's an excellent condenser USB microphone and a solid (if simple) audio interface in a small, rugged package. It can be a high-quality go-anywhere podcast studio. Or be the primary way a band records new material while they're out on tour. 

This article originally appeared on Engadget at https://www.engadget.com/micreator-studio-hands-on-a-199-portable-recording-studio-worth-more-than-its-price-tag-180021292.html?src=rss

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