Last month we took a look at the functionality of the AIRA Modular series straight out of the box. You can have a look at that review here. Now let’s check out the other part of the equation: The AIRA Customizer software editor. The app works on Mac, Windows, iOS and Android systems, and for this review I’ve been using both the OS X and iPad versions. The customizer unlocks six slots for any configuration of their 31 virtual sub modules to use in addition to the features of the original module. Changes are then saved into the module’s firmware so you can use your new creation in whatever setting you want. You can even save your patch as an audio file that you can play back from your phone into the Remote input of a module to reconfigure it. This greatly expands the abilities of all the AIRA modular units and really lets you convert them to your personal taste.
The rest of the article lies in wait here.
Part of Roland’s return to the modular world took the form of four effect units. Each piece was made to work both standalone as a tabletop unit, and as part of a eurorack system. Roland’s AIRA line features the use of their Analog Circuit Behaviour technology; taking Virtual Analog to the next level by digitally recreating hardware from the inside out. It was first employed in re-imaginings of classic pieces that took shape as the TR-8, TB-3, and VT-3. However with these effect units they’re creating something entirely new for Roland.
The AIRA modules look great all racked up together and possess a reassuring build quality with larger knobs for primary functions and smaller knobs for the attenuation and secondary features. Each unit features a USB connection that functions as a 24bit/96kHz audio interface, and also sends MIDI and Sync information. The controls boast a resolution of 16 million steps to avoid any audible stepping or aliasing and ensure smooth sweeps as you twiddle and tweak.
Squeezed into the 21HP footprint are 11 patch points, 7 knobs, and 2 buttons; except in the case of the Scooper, which has 5 knobs and 3 buttons. Each unit has a dedicated volume knob, so you can quickly control the level of your signal. The 1/8” dual mono inputs make them compatible with a eurorack setup, but limit their intended use as tabletop effect boxes with other equipment. Roland would probably benefit from offering or including an adaptor or cable that takes stereo 1/4” and/or RCA connections and outputs dual 1/8”, similar to Elektron’s Audio/CV Split Cable Kit. To power the units, they cleverly come with both a standard wall wart, and a ribbon power adaptor.
A standard wall wart and a ribbon power adaptor are both included with the units.
*** The rest awaits but a click away.
Feel like surfing the rising tide of patch cables and joining the eurorack revolution? Here are a few things to consider before getting your feet wet. I recently went through this process and started my own system, and I thought it would be helpful to share the information that I gathered along the way. I’m assuming you already have a basic understanding of synthesis and CV if you’re here. If you don’t then these video courses in The AskAudio Academy are worth watching.
A 2Egress 18U168HP case all filled up and ready for action!
*** Read on here.
Calling the Intellijel Rainmaker a delay module is kind of like calling a lion a cat, or a cruise ship a boat. The Rainmaker is an unprecedented stereo delay module capable of a diverse range of tones and textures with a huge degree of control. The unit is divided into a delay section and a comb filtering section each with their own separate parameters and CV inputs. The vast functionality of the unit is realized with a menu system for navigating and assigning the various parameters.
I’ll admit that while I was excited to try out the Rainmaker, I was also a little intimidated. I feel like I could have easily spent months learning the unit. My first approach was to go through the various presets to get a sense of how it sounds and its capabilities. Richard Divine designed the presets numbered from 82 to 128 and provided special instructions on how to best take advantage of his creations. It was easy to get lost scrolling through the options; some patches provided more conventional rhythmic delays, some provided lush expansive reverbs, many were much more wild and unexpected. The pitch shifting capabilities are easily able to make any material dissonant and mysterious, or beautiful, floating, and ethereal.
*** Read the rest here.
The Spectral Multiband Resonator from 4MS provides an innovative new spin on the filter bank concept with features like rotation, scale quantizing and a host of other attributes. For someone like me, who enjoys making music using field recordings, this module offers a perfect means to convert noisy material into something musical in an enjoyable and intuitive way.
Filter banks have been around for decades, utilizing the basic concept of reducing, boosting, or completely isolating specific ranges of the frequency spectrum. Dividing audio into separate bands allows for flexible processing possibilities, on both the practical and experimental ends of the spectrum. I really enjoy using Vierring in Native Instrument’s Reaktor, which can step sequence four sweepable frequency bands with controls for attack, decay, resonance, and delay. Could the Spectral Multiband Resonator open the floodgates to Vierring style processing in my modular rack?
*** Read the rest here.