"Introducing dåpf, the first dedicated effects processor in the Instruō product line. The Instruō dåpf is a set of two analogue all-pass filters.
You might be asking yourself, “What is the point of a filter that passes everything?” All-pass filters don’t actually attenuate frequency amplitudes directly, but rather alter the phase relationship of frequencies across the spectrum. All-pass filter stages appear in the vast majority of voltage-controlled filter topologies as well as serving as a core building block within DSP.
The normalled I/O of dåpf allows for cascaded or independent use of the two all-pass filter circuits, offering everything from classic phase-shifting to psychoacoustic stereo enhancement and synthetic Doppler effect.
• Two parallel all-pass filters • Independent attenuverters for voltage control • 1-Pole/2-Pole configuration for left channel • Cascaded normalisation • Global 1 volt per octave tracking"
"This video is long... But the second half is very much optional expansion and deep dive into some theory of all-pass filters. The first few examples are much quicker, more practical examples of dåpf patched. Thanks for watching :)" ~Jason ---
00:00:00 Instruōduction 00:03:24 Overview | Stereo Enhancement 00:04:19 Stereo Enhancement - Subtractive patch sound source 00:04:55 Stereo Enhancement - Traditional stereo panning 00:06:13 Stereo Enhancement - Spectrally transparent waveshaping 00:07:22 Stereo Enhancement - dåpf inputs/outputs 00:09:42 Stereo Enhancement - Controls and CV inputs 00:10:14 Stereo Enhancement - 6dB/12dB pole switch 00:11:18 Stereo Enhancement - Mono to Stereo patching 00:15:41 Stereo Enhancement - Static phase shift 00:17:32 Stereo Enhancement - Level 1: modulation 00:19:40 Stereo Enhancement - Level 2: modulation + waveshaping 00:25:02 Stereo Enhancement - Level 3: modulation + timbre 00:27:50 Vibrato Everything 00:28:17 Vibrato Everything - What is vibrato? 00:29:35 Vibrato Everything - Non-FM vibrato 00:30:22 Vibrato Everything - (tangent: sine phase) 00:31:34 Vibrato Everything - (tangent: sine spatialisation) 00:32:37 Vibrato Everything - Non-FM vibrato (sine wave) 00:34:11 Vibrato Everything - Non-FM vibrato (sawtooth wave) 00:38:42 Vibrato Everything - Non-FM vibrato (complex audio) 00:40:46 Vibrato Everything - Non-FM... FM? ...PM! (Phase Modulation) 00:43:47 Feedback Processing |"Doppler" 00:44:33 Feedback Processing |"Doppler" - Lúbadh feedback patch 00:46:38 Feedback Processing |"Doppler" - Doppler shift description 00:48:08 Feedback Processing |"Doppler" - Doppler dåpf 1pole/2-pole 00:49:20 Feedback Processing |"Doppler" - Doppler dåpf 3-pole/-4pole 00:51:28 Feedback Processing |"Doppler" - Doppler dåpf in stereo! 00:52:02 Feedback Processing |"Doppler" - Delay feedback 00:54:54 Feedback Processing |"Doppler" - Audio rate modulation 00:56:32 Building a phaser - Deep dive into all-pass filters 00:58:44 Building a phaser - Phase shift of a fundamental 00:59:41 Building a phaser - Quadrature: sine | cosine 01:00:43 Building a phaser - Drawing perfect circles 01:01:41 Building a phaser - Drawing (non-)perfect circles 01:02:16 Building a phaser - Frequency dependent phase shift 01:04:22 Building a phaser - 1V/octave tracking 01:07:40 Building a phaser - More than one sine wave 01:08:58 Building a phaser - The harmonic overtone series 01:10:19 Building a phaser - Sawtooth wave low-pass filtered (reference) 01:11:15 Building a phaser - Phase shifting harmonic overtones 01:15:42 Building a phaser - Inside a phaser 01:18:00 Building a phaser - Stereo Phaser 01:22:19 Building a phaser - uPhaser Befaco FXBoy 01:23:46 Building filters - Any-pass filter? 01:25:05 Building filters - RC low-pass filter 01:26:03 Building filters - Spectral cancellation principles 01:28:35 Building filters - APF to LPF 01:30:10 Building filters - APF to HPF 01:32:03 Building filters - Parallel dual all-pass filters 01:37:41 Building filters - Resonant filters"
And a video from Divkid:
Wow! I didn't know All Pass Filters could do this // 3 Patches with dapf from Instruo
video upload by DivKid
"I'm always striving to learn and explore with sound and music and dapf (the new Eurorack module from Instruo) certainly brought a big slap of school day into DivKid HQ. I was aware of all pass filters, getting past the funny idea that "all" frequencies pass (so what's the point?) and knowing they were use for phase shifts. What I didn't know is how core and important to filter topologies they were and how creatively useful they could be.
Some exploring later and here we are, with 3 patches that really show the power of phase manipulation. While dapf makes a fantastically chewy phaser FX unit I didn't expect it would be such a great stereo expander for a single VCO nor did I know I could be MUSICAL and totally analogue 3 operator FM/PM (like the digital Yamaha DX and Casio CZ phase/FM methods) synth."
00:00 Introduction
00:52 Overview Front Panel
02:06 Driver and Key Scaling
03:26 Pipe Group
04:31 Effects Group
04:50 Control Group
05:16 Global Group
06:15 MIDI Looper
07:32 Poly Chaining two VL1s
08:03 Morphing
SonicProjects OP-X PRO-3 released! 12-voice semi-modular monster synth which fullfills virtually all requests and wishes from users collected over the recent years. The synth offers:
"I was honoured to be a VIP guest at the SECRET LAUNCH EVENT of the new YAMAHA GENOS 2 WORKSTATION ARRANGER KEYBOARD during October 2023. Join me in Berlin for a recap and the behind the scenes story and footage. I was one of the first lucky people in the world to lay my hands on this new arranger keyoard. Plus an exciting visit to the exclusive Yamaha Synth Museum in Berlin.
Whilst we are here, we will also take a look at the remains of the Berlin Wall!
Many more demo, review and tutorial videos to come over the coming weeks when I receive my own GENOS2.
Library music by Jeremy Blake (Red Means Recording)."
Yamaha Genos2 on “MAKE AN IMPACT – together²” event – Woody
"I attended the press launch of the new YAMAHA GENOS 2 WORKSTATION ARRANGER KEYBOARD and had the privilege of meeting the people that designed and created this new keyboard and watching the Martin Harris demo. Here are my insights from speaking with the team on the best new features, styles and sounds on this exciting new instruments.
Many more demo, review and tutorial videos to come over the coming weeks when I receive my own GENOS 2!"
Playlist:
Genos2 - Your Next Masterpiece
What is FM Synthesis
Genos2 Voice and Style Demo
What is MIDI Song to Style
What is REVelation Reverb
What is Style Dynamics Control
Genos2 Compatibility Video
Mini press release:
"The new Genos2 is the ultimate arranger workstation for you. Genos2 represents an evolution in innovation with even more capabilities, including the highest quality Voice & Style content. Now you can lead the ultimate ‘cover band’ like never before by playing and performing your favorite songs by your favorite artists with:
Innovative content and technology, featuring exclusive new Real Ambient Drums
All-new Genos2 Real FM Sound Engine
Live Control Surface featuring assignable knobs and sliders with LED indicators
Updated Playlist function for a better-than-ever playing experience
Inspiring Voices & Styles Genos2 is loaded with expanded Voices & Styles functionality designed to unleash your creativity, including:
Widest range of genres to choose from Downloadable Playlist offering versatile functionality and easy access to your favorite songs Instrument Sampling/Vertical Integration that ensures consistency and quality of music samples
Confidence, Control & Performance Confidence, Control & Performance Genos2 allows you to change the intensity of the musicians with the Style Dynamics Control feature, while the AI Chord Mode offers intuitive control of instruments and Voices & Styles. More features include:
Real Ambient Drums that bring Styles to life in a variety of environments Microphone Input that makes you sound like a pro On-screen Karaoke Lyrics"
- support for MIDI MPE controllers - enable MPE from the GLOBAL menu and explore the new modulation sources at the end of the list. Pitch bend range can be set in the MISC menu
- option for free running analog oscillators in the MISC menu which is settable per patch - In the analog waveform mode, which you are using when you select the Axx waveforms like Saw and Square, now has the option to make the waveforms not reset when you start a new note. In this mode, the oscillators will continue to drift from each other as they do on some fully analog synthesizers. There are two side effects if you are using free running for the analog waveforms:
1. When two or more oscillators are running at the same time, the phase of the waveforms will not be reset and could start at any position. As a result, there will be phase cancellation compared to having the oscillators always start at the same point. What you will hear is that the notes will change volume level slightly as the oscillators start and also drift in and out of phase with each other.
2. In the normal mode the oscillator always starts at zero. Now it could start at any point in its phase position. That means when you hit a note, a single oscillator could be at 0, +1.0, -1.0, or anywhere in between. If it starts at or close to +1.0 ot -1.0, you are going from no sound to fully on immediately. This can cause a click at the beginning of the note depending on the phase. It is noticeable mostly when using a sine wave, and not too noticeable with something like a saw or square. If you want to use this free running mode, turn the attack time up to +20 or higher to quickly fade in and avoid the potential click.
"Welcome to the very best Yamaha CS-80 to ever be available for sale. The very best in terms of electronic condition/calibration and capability, and certainly the one with the longest life expectancy you can find. A life expectancy longer by some decades from the other not-upgraded 'regular' CS-80s you will find around.
Why is that ? Because not only has it been fully serviced but also it has the most advanced and thorough upgrade ever to be installed in a CS-80. And very possibly never to be matched in the near nor distant future.
"Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about Korg OpSix. Is this next level frequency modulation synthesizer with its faltered FM synthesis a Yamaha DX7 on steroids or is it just another Korg 'OopsSix' with its build quality issues and plasticy enclosure? Is it the best FM synth for beginners???"
Chapters: 00:00 Intro tune 01:11 Overview Roland Korg OpSix 01:45 UI Concept 02:13 Synth Engine & Algorithms 02:32 Operators 02:40 Complex Waveforms 03:03 Subtractive Operators with Filter 03:09 Filter FM 03:15 Ring Modulation 03:20 Waveshaper 03:25 Additional Parameters, Oscilloscope 03:34 More UI, Envelopes 03:43 V-Patch, Modulation Matrix 03:54 Filter, FX 04:07 Arpeggiator, Sequencer, Motion Recording, Limitations 04:30 Global Parameters 04:40 Multitimbrality (or lack thereof), Groovebox Features 05:01 What else??? (Random, Limitations, Pricing History, Thanks) 05:32 Hate 05:57 Jam 1 (Techno) 06:52 Jam 2 (Synthwave) 07:50 Finale (Progressive House) 08:20 Verdict
"Demonstration of the hardware prototype. It can edit the complete physical model of the VL1. Musically not much enlightening, but showing some first impressions. See also my home page: https://vl1.skerjanc.de/?p=23"
"This is my vision of an ideal hardware controller for the famous Yamaha VL1 synthesizer. After my experience of making a HW controller for the FS1R, I decided to create an new user interface that deals easily with hundreds of parameters to control this beast. The case is designed as a 19″ rack mount, the same size as the VL1m module. As the name implies, it can edit all physical modelling parameters as you were able with the Yamahas Expert Editor for Macs.
Individual dials for all parameters rendered quite impossible, so I found a way to divide the parameters into several pages of 16 parameters and show the content on an OLED displays.
You have 7 groups on the front panel: Global, Control, Effect, Driver, Physics, Pipe and Modifier. Each group has several buttons and LEDs to indicate the current selected parameter page. In the next image you see that the page for editing breath noise and excitation is selected, and the 16 dials are assigned to the belonging parameters.
The dials are endless encoders with haptic clicks. The displays are divided in two halves, upper display half describes the parameter name and value for the upper dial and vice versa.
That’s it: you have a good overview about the whole context and you can easily dive into all parameters."
"In this video I take an overview and run through the functions of the Yamaha SY35 synthesizer.
I also created an accompanying track, which just uses sounds from the SY35 (plus a vocal sample). The majority of effects are from the SY35 too. I have added compression and EQ, as well as doing a basic mastering job.
Let me know what you think of the synth in comments. I've been pleasantly surprised by it! I'll get into programming in the next video.
If you'd like to support the channel, you can check out my tracks below:
"Enjoy this performance titled 'Expressive Split' from Yamaha Artist Michael Lecoq and the new MODX8+ Synthesizer.
Yamaha artist Michael Lecoq is a pianist and keyboardist based in France who, from a young age, has shown excellence that has allowed him to develop into the renowned artist he has become today. His versatility and virtuosity have earned him several collaborations that have allowed Michael to showcase his talents as a player and as a composer, arranger and producer."
"It’s been 30 years of Novation and music made with bass, beats and synthesisers.
From early beginnings in 1992, Novation has been a pioneer in developing music technology, allowing artists to create decade-defining sounds. Starting as Novation Electronic Music Systems, we built a small but innovative device, the MM10, which let you control a MIDI sequencer, the Yamaha QY10, for the very first time from a keyboard.
Since then, our synths, MIDI controllers, grooveboxes and more have helped people create, play and perform at all stages of their music-making journey.
From all of us at team Novation – we want to wish a huge thank you to our whole community for keeping us inspired. We can't wait to hear what you make next, and we look forward to another 30 years.
"Crafted from old-school Novation gear and adapting Trance to a modern time, The Novation Legacy Soundpack looks back on the history of electronic music and the gear that helped shape it. Made with Bass Station, BS Rack, AFX Mode, K-Station, A-Station, Mininova, Peak and Summit.
"Novation looks back on three decades of bass, beats and synthesizers.
Since 1992, Novation’s synths, MIDI controllers, grooveboxes and more have helped people create, play and perform at all stages of their music-making journey.
In 1992, Novation developed the MM10, an innovative MIDI sequencer that controlled the Yamaha QY10 from a keyboard, revolutionising the way we make music as the first MIDI controller of its kind. Bass Station’s arrival in 1993 pushed them further into the spotlight as a standout synth of the ‘90s. Developed by none other than synth designer Chris Huggett, his expertise with analogue and digital synth design influenced many of their iconic synths including Supernova, Bass Station II, Summit and Peak.
Over the years, Novation’s instruments have brought new life to music-making, including the Launchpad range which changed the game for grid-based music production and DIY performance, Circuit’s much-loved intuitive approach to beatmaking and sampling, and the award-winning Launchkey range of MIDI controllers used by artists in many genres.
In 2022, they’re celebrating 30 years of music, pioneering music technology and people that made Novation what it is today.
With Novation, anything is possible Over the past three decades, countless artists have brought their musical ideas to life with Novation instruments. From October until Christmas, they’re bringing their community together to celebrate the made music with their instruments over the years with videos from artists across the globe, huge prizes up for grabs in their 30th anniversary competition and exclusive curated soundpack giveaways.
Giving back to the global community of fans Novation will be giving away their biggest prize bundle yet to encourage their worldwide music-making community to share the love for their instruments. One lucky winner can own a full studio’s worth of gear, as well as three years of upcoming products.
The prize bundle includes: 1. A suite of Novation products, including Circuit Rhythm, Circuit Tracks, FLkey Mini, Launchkey 37, Summit, Peak, Bass Station II, Launchpad Pro. 2. Three years of future Novation products. 3. A feature on the Novation website spotlighting their entry/music and a short interview with accompanying social media promotion. 4. A 1:1 Product Demo Session with a Novation product specialist. 5. A Novation Logo T-Shirt.
The giveaways continue with 30 exclusive soundpacks covering countless genres. All users can get their hands on samples made for the Circuit Rhythm, and perfect for all of the Launch range – regardless of what DAW they choose. Newsletter subscribers can also get their hands on the Novation Legacy Sample Pack – add moods, textures and unique sounds from the Bass Station, AFX Station, and plenty of classic instruments.
Novation is also going backstage with creators in their community to see just how they make their music. Learn how to make songs and build beats in Ableton, Logic, Cubase and FL Studio from long-time Novation users including Lex Luger, Trishes, Bad Snacks, Seids and Venus Theory.
Join Novation in celebrating their story so far and become a part of their future as they continue to encourage creativity and make music production a rewarding experience for all."
"Enjoy this majestic performance from Víctor Elías playing the MODX8+ Synthesizer.
Yamaha Artist Victor Elías is a pianist and keyboardist based in Spain. He is also an in-demand musical director and has worked with many of Spain's most prominent pop artists, including Pablo López, Taburete, Álvaro de Luna, Dani Fernández and many more.
MODX8+ is a compact, lightweight, 88-key weighted action synthesizer with the piano, instrument and synth sounds pianists need to stand out on the stage, studio or stream. Learn more: http://yamaha.com/2/modxplus"
"You are in possession of a #Yamaha #EX5 and you want to create a typical YouTube synth improvisation without breaking the synth community guidelines? This video walks you through all the steps necessary from sound design to key mapping, so you'll set up your machine for filter tweaking, arpeggiating and huge reverb in no time. ;-)
00:00 intro 00:24 hello 00:46 turn off all the internal effects 01:17 selecting a proper wave form 01:35 adjusting the amp envelope 02:00 filter setup 02:49 naming and storing the sound 02:57 setting up a control matrix: filter cutoff frequency 03:50 ... filter resonance 04:18 ... amp attack time 04:40 ... decay time 04:59 ... release time 05:25 stereo panning 06:16 oscillator fine tuning 06:34 controlled tuning 06:52 setting up insert effects: amp sim 07:13 setting up realtime control for the amp 07:49 important considerations 08:12 setting up a performance (multi mode) 08:25 choosing sounds 08:47 insert effects 08:57 note ranges (keyboard split), transposing 09:20 global effect setup 10:34 recording some patterns (instead of arpeggiating) 11:06 keymapping (assigning patterns to keys) 11:45 demo 15:48 bye-bye
"The TX816 is a monster of DX and FM digital synthesis. It is a unique system in that it is a rack unit that could take up to eight TF1 modules. A TF1 module is basically a DX7 condensed down to a single circuit board with almost no front panel controls. Definitely designed for use with external hardware and software controllers the TX816 allows you to easily carry around up to eight DX7s! Software such as MOTU Unisyn, Emagic SounDiver, or even another DX7 can be used to program the sounds in each module via MIDI.
Each TF1 module consists of a 16-voice, 6-operator digital FM synth engine. So a complete TX816 with all eight TF1 modules would offer up to 128 voices and 48 operators! Each TF1 also features an independent audio out (XLR) and MIDI I/O for a total of eight audio outputs and MIDI I/O's. It also has one global MIDI in/out port with 8-part multitimbrality, but no common stereo or mix output.
The TX816 was designed for demanding live use where portability, polyphony, and lots of outputs are a must! The TX816 is fully compatible with all other DX synthesizers including Native Instruments FM7 software-based plug-in. You can use the TX816 like it's eight separate DX7s or mix and pan each module together to layer your sounds into one monstrous DX powerhouse! It has been used by Kitaro, Chick Corea, Michael Jackson, Europe, and Scritti Politti.
In the early eighties these sold for anywhere between $2,000 to $5,000 depending on how many TF1 modules were installed (from two to eight typically)."
"We are excited to announce that The NAMM Show, the annual 'family reunion' of the global music, sound, and entertainment technology industry, will reconvene in Anaheim, California at the Anaheim Convention Center on June 3–5, 2022.
Previously scheduled for January 20—23, the new dates will offer global industry leaders, buyers, sellers, music educators, artists, media, and music makers the opportunity to reconnect and renew their businesses while taking greater advantage of reimagined indoor and outdoor events, activations, professional development sessions, an expanded digital reach and more at the crossroads of business opportunity."
"Each TF1 module consists of a 16-voice, 6-operator digital FM synth engine. So a complete TX816 with all eight TF1 modules would offer up to 128 voices and 48 operators! Each TF1 also features an indepednent audio out (XLR) and MIDI I/O for a total of eight audio outputs and MIDI I/O's. It also has one global MIDI in/out port with 8-part multitimbrality, but no common stereo or mix output."
Note the labels on the front panel are in Japanese.
"The SY20 was Yamaha's last analog synthesizer model before committing to digital FM synthesis with products like the DX-series. It is an all-analog mono-synth that came out in 1982 but was never commercially sold outside of Japan, making it very rare. In fact, it was originally intended to be an "educational" synth to help students learn about synthesis. However, as most of the controls are labeled in Japanese characters, you will already need to be familiar with analog synthesizers (or Japanese) to grasp the SY20.
"32-Key USB MIDI Controller Keyboard with 64 Step Polyphonic Sequencing, Chord and Arpeggiator Modes
The Behringer SWING gives you full control over any synthesizer or virtual instrument in your DAW via USB or MIDI. Featuring a 64-step sequencer with an 8-note polyphonic sequence combined with 32 compact-sized keys and pitch and modulation touch-strips provide unlimited ways to express yourself in a compact and portable package.
The SWING’s 32-compact-sized keys create a perfect balance between size and playability. The keys give you the ability to create more nuanced and colorful passages with velocity and after-touch functionality. Use the Pitch and Modulation touch-strips to add even more character to your music. Chord Play Mode allows you to play a chord with up to 16 notes with one single key for some really enchanting Trance music. The SWING also features a 64-step polyphonic sequencer so you can create any progression imaginable and even play over it. Switch to Arpeggiator mode and create an amazing string of notes that can sync to the clock of any device the SWING is connected to.
The Mode knob on the SWING can select up to 8 saved programs in Sequencer mode, while in Arpeggiator mode, you can select different playing orders such as up, down, inclusive, exclusive, random, note order, double up and double down modes. Select from 8 different time signatures with the Scale knob and adjust the tempo with the Tempo knob or the Tap button. Press the Record button to start recording a sequence. This also doubles as an Append button when holding down Shift. Use this along with the Stop/Clear Last button and you can edit your sequences and arpeggios on the fly.
Update: And a response from Arturia followed by Axel Hartman who designed the physical look of the Keystep:
Arturia:
"Hello everyone,
We have been informed on Sunday November the 22nd of the upcoming release of a new product called Swing, by Behringer.
This product is in no way the result of a partnership between Arturia and Behringer.
We have worked hard to create the _Step range. We have invested time and money to imagine, specify, develop, test and market the KeyStep. Along our distributors we have been evangelizing this product, placing it in stores, explaining it, servicing it.
Of course we accept competition, and would absolutely understand that Berhinger give their own interpretation of a small and smart controller that would also be a sequencer. Others do, we have no problem with that and see good for the customer, as well as for the industry, in fair competition.
But this is not fair competition here.
Coco Chanel once said: “If you want to be original, be ready to be copied”. So we could in a way consider the Swing as a compliment.
We could.
In any case, thank you, everyone who came out and supported us these past 36 hours! It's been very helpful, very much appreciated.
"I do feel the need to comment on the many postings I can find here @ Facebook in several places regarding my thoughts, feelings, but also the truth about the blunt Behringer copy of the Arturia key step.
Arturia and myself, aka my company design box are designing instruments, synthesizers, controllers, interfaces since many years. As industrial designer, I contribute mostly my services on the asthetical side of a product. This is true for almost all hardware products that you know from Arturia. In all cases, Arturia is buying my services - I never licensed any of the designs. Arturia always pays, and naturally owns the output of my work, that - by the way - is alway the result of an in-depth cooperation with their internal team of specialists.
Arturia and myself are working together since many years, and we share the deep desire of designing innovative products. I could never share any of the designs, that came out of that cooperation with any body else, legally not, and not from my personal high attitude in that regards. So anything, pointing in that direction is simply fake information. Neither the company Behringer, nor Uli himself have ever approached me with a request like that. And I would also never ever do something like that - I can not license anything that is not in my possession.
Personally, I feel sad, and am also upset about that sheer copy of a design, that I once created for, and together with Arturia, the team around Frederic Brun. These people have spent lots of efforts and great energy in building a brand and all that belongs to a brands assets. It is simply not right, somebody else is taking advantage of that hard work (which is not only true for Arturia, but for all great brands, that must see their most successful products being copied)
I do not understand (Uli) Behringer - with his huge company and the power of many great R&D teams - some of the best and most respected and innovative companies we know in our business, that Uli was able to simply buy in the past with his money. A product like that copy simply can not represent the core values of the people, he could convince to be part of his company. It is simply sad, and I can not understand that move (like many, it seems)."
And then there's the following mock-up from Atomic Shadow that pretty much sums it up:
Update via Wikipedia: "Music Tribe, formerly Music Group, is a holding company based in the City of Makati, Metro Manila, Philippines.[2] It is chaired by Uli Behringer, founder of Behringer. Music Group rebranded to Music Tribe in December 2017.[3]...
In 2015, Music Group's portfolio included Midas, Klark Teknik, Behringer, Bugera, Eurocom, Turbosound, TC Electronic, TC-Helicon, Lake, Lab.gruppen, Tannoy, TC Applied Technologies and CoolAudio[6]"
"Since various magazines and Arturia have publicly called us out over the launch of our Swing MIDI Controller, we would like to respond and share some facts around the principles of competition and clear up some misconceptions.
Competition is a highly effective tool to drive innovation by empowering Customers to make their best choices and force manufacturers to constantly reinvent themselves. Innovation means progress and this happens on many levels, whether it relates to customer experience, functionality or cost efficiencies etc. There are 4 established marketing strategies: market leader, market challenger, market follower and market nichers. Here is a great article: https://aytm.com/blog/brand-positioning-for-a-competitive-edge-part-3/
The competition law was designed to avoid companies creating a market monopoly and stifle innovation, which would be detrimental to the rights of the Customers to expect better offerings. The law was specifically designed to encourage everyone to fiercely compete, even when it means over the same functionality and design, provided intellectual property such as utility (functional) and design patents as well as trademarks etc. are respected.
How many Fender Stratocaster or Gibson Les Paul clones are out there in the guitar world and how many SM58 clones are available? How many cars or mobile phones look alike? It is not surprising that Gibson recently lost a substantial legal case trying to prevent others from making V-shape guitars or Fender, who lost all trademark cases related to their Stratocaster design. The reason is simple: the law encourages competition and provides maximum freedom for companies to engage head-on, all for the benefit of the Customer.
We are spending large amounts of resources on innovation, which is reflected in products such as X32, XR18, Flow, DDM4000, etc. This made us the global market leader for analog and digital mixers and over the years we have built an extensive patent portfolio: https://community.musictribe.com/pages/intellectual-property However, we also clearly choose to follow successful brands and products, while adding more features and/or competing on price. Much of our innovation is invisible to the Customer as it relates to our highly advanced and automated design and manufacturing processes and for that we are spending hundreds of millions of US$. For this reason, we have become strategic partners with Microsoft, Siemens, Adobe and many other Tier 1 companies as we are pushing for extreme digitization and automation.
The follower marketing strategy is a very common business model in any industry, which is enabled by law to encourage competition. With our new Swing MIDI Controller, we followed an established concept, but of course wrote our own firmware with added functionality. However, these unique features will only come to life when we launch our free DAW.
The free Music Tribe DAW will form the heart of an incredible eco-system, where all our controllers, synthesizers and drum machines etc. will integrate seamlessly, thus dramatically improve connectivity and workflow. This will make it incredibly easy for our Customers to create, edit and share their music. Only our upcoming controllers will feature total integration with our synthesizers, drum machines, digital mixers and other Music Tribe equipment, while also offering standard functionality with all 3rd party products.
For anyone familiar with the industry landscape, Arturia has been cloned for years (Worlde MiniMidi, etc.), while the company has also been “borrowing” from others with their VST replicas of legendary hardware synths, open-source code from Mutable Instruments, the “Expressive Touche” controller or the registration of known “DX7” and “Synthi” marks. Equally, our own analog Xenyx mixers and many other products have been widely cloned. ¬We will absolutely continue to deliver innovative products but also follow our competitors as we expect our products to be cloned - fair play.
We are very cautious when it comes to our follower approach and employ expert intellectual property firms to ensure our products stay within the boundaries of the law; we are committed to never intentionally infringe on other companies’ intellectual property.
Many years ago, we were entangled in bitter lawsuits with Mackie and Pioneer, which we all won. But we also recently lost a case against Yamaha in China related to a simple fader knob design that involved a design patent we were unfortunately not aware of. We changed the design, we will pay the fees and move on. Notably, Yamaha themselves were sued by Dr. Dre over their headphone designs (https://www.cnet.com/news/dr-dre-sues-yamaha-over-headphones/) or entangled in other legal matters (https://www.gov.uk/government/news/musical-instrument-firms-to-pay-millions-after-breaking-competition-law), which clearly shows how competitive business is. The heated Apple versus Samsung disputes are a prime example.
It is our Purpose and Mission to empower Customers who don’t have deep pockets and provide them with the best possible equipment at fair prices. We do understand that we are a fierce competitor and at times controversial as we’re relentlessly push the envelope.
We would like to thank all our Customers who have supported us over the past 30 years. We are absolutely committed to continue to deliver the best possible products at the lowest possible cost."
