Synth Pioneer Tomita's Rising Planet Album Now Available On Streaming Services

Synth Pioneer Tomita’s Rising Planet Album Now Available On Streaming Services
Naomi Bolton
Thu, 07/29/2021 – 08:21

New BOSS Guitar Features Onboard Synth Engine

New BOSS Guitar Features Onboard Synth Engine
Naomi Bolton
Tue, 07/27/2021 – 08:37

QChord QC-1

QChord QC-1

Polyphony –
2 Voices
Multitimbral –
1 Part
Oscillators –
Waveforms –
Controls –
Effects –
Vibrato, Reverb, Fills
Keyboard –
37 Keys
Memory –
100 Patches (RAM)

Naomi Bolton
Thu, 07/22/2021 – 09:02

The QChord is part of the Omnichord series by Suzuki and was first released in 2000. Suzuki combined the technology of a basic keyboard along with an electric guitar for an instrument that is not only easy to play, but also very portable. *** In terms of design the QChord is divided into three separate sections. These consist of a “strum plate” that is touch sensitive along with a rhythm section and a section from the chord buttons. Players have the option to either use a combination of these sections or use them independently. This instrument also has a 2-digit LCD, 2-LED Light bar, and 12 LEDS.

The design and features of the QChord makes it an instrument that can be enjoyed by anyone from a novice to an accomplished musician. In fact, the “strum plate” has been designed in such a way that it is easy to avoid any wrong notes. The QChord also always sounds in tune and strumming the “strings” of the instrument is as easy as pressing a chord button and then using the “strum plate.” The QChord is capable of soothing melodic sounds and works best as an accompaniment instrument.

Another benefit of the design of the QChord is that it is easy to follow a natural progression on the instrument by using its multiple skill levels. Suzuki even released a number of song cartridges for the instrument, which can be used to play and sing along to a variety of popular songs.

From a technical standpoint, the Suzuki QChord allows access to up to 84 different chord combinations. Users can also make use of 100 instrument voices and the instrument has a pitch bend wheel for added expression. Songs can be customized by making use of features such as sustain, volume levels, rhythms, and voices.

Even though the QChord looks like a toy, the sound quality and ease of use elevates it above other cheap instruments. In fact, being familiar with musical theory and chord progressions will allow players to get much more out of the QChord than those simply playing around with its sounds. The other advantage of the QChord is that because it is so easy to use it is very addictive to play and serves as a great stepping stone for anyone interested in learning a musical instrument. The QChord sounds fine on its own, but can also easily be connected to a speaker if you want to increase the volume.

Overall, the QChord is great for newcomers who want to get into playing an instrument without having to invest too much time into learning as well as veterans looking for something new and unique.



Musical genre

Synth type

Interface features

Sound types

Price range

Suzuki QChord

Suzuki QChord QC-1Owners Manual


Suzuki Q Chord demo



Omnichord Q-Chord Suzuki Improvisation


David Ramos

User Rating
VSE Rating
Polyphonic instruments

Disqus comment

Loxy & Ink interview: lockdown, new music and their hip hop roots

Fresh off their recent release on R&S Records, I sat down with Loxy & Ink to talk about lockdown, the Phoenix Rising EP and future projects.

The five-track EP offers a fresh slice of variety, spanning three different genres of music. Woven with familiar and new sounds, this is just what the scene needs as venues start to reopen across the UK.

How long has this EP been in the works, and how has it been to be collaborating over lockdown?

Ink: The EP in its first creation was actually Give Me a Dubplate, about 2 years ago. There was no talk of it being in the format that it’s become now. It’s evolved over time.

Loxy: Back in the day production had to be done together in a studio, but now with modern technology, we can bounce tracks between each other, so lockdown wasn’t a hindrance.

Ink: On the other hand, we found seeing each other in person meant we could more naturally roll on to new projects.
We have a lot of the same interests – Gremlinz, Resound, Loomis, Pessimist, Overlook, Clarity and ourselves. It’s like our extended family.

We end up at the same gigs or see each other around the city. You see someone out, and before you know it, you’ve hooked up to do a tune.
We’ve been able to negotiate the territory but you want to be out high fiving and getting a drink.


R&S have such a variety of sounds and artists, how did that link come about?

Loxy: I’ve got a good friend, Meriton, who runs Mentality in Belgium. He’s friends with the guys at R&S and was the driving force behind us making that link. He started passing over our music and things lined up from there.

Ink: Back in the day I remember seeing Wax Doctor on this label with a horse on it and I remember thinking that they had some dope tunes, and even before that with Plastic Dreams.

Listening through this EP, my first surprise was to hear an opening hip hop track, ‘Manifested Visions’, that you both spit on. Where did this idea come from?

Loxy: We’ve actually been doing hip hop as long as we’ve been doing dnb. When I first started DJ’ing I used to MC for myself on Chillin FM and Pulse FM or down at  Eruption FM. After that, Ink, MC Rage and I had a group called School of Mad Thoughts and then that was followed by another group called Fifth Element. To others, who don’t know us well, it’s been a surprise.

Ink: I remember being in the Sixth Form College and hearing all the hardcore music and wanting to be part of the scene. I thought the best thing for me was to pick up the mic and start MC’ing for DJ Kwest who at the time was mixing at the school. From that, I got a taste for it and my focus was initially the mic.

I came up with Justyce MC who now rolls with Sigma. Back in the day, on Defection FM it was the Prospects Crew. So I was trying to get an in by going on the mic at Roller Express but my passion for playing music eventually took over.
Once I linked up with Lox we were already doing the hip hop anyway. It was second nature but we didn’t release it.

The timing is right now, Sway was one of the first in the UK to burst the bubble, as it were, and paved the way for everything in the UK scene. He said that back then Fifth Element was ahead of its time, and it showed as only the committed kept with it and supported. Right now, the changing climate has meant that people are now ready to hear what we’ve got to say.

Phoenix Rising is returning to more familiar ground, a real set-opener. Does the name carry any profound meaning for you both?

Loxy: We’ve been doing this a long time and we’re always coming with new work. Sometimes people think that someone in our position might be out of ideas, you might get counted out. So, the title represents that we always come back with something that makes a ripple in the scene and rises from the ashes.

Ink: When we make music, we always give it that further meaning. There are always levels within what we’re doing. If you take time, you can identify that meaning.
The style is what we’ve nurtured over time. We’ve always been that schizophonic style, where it starts in one place and ends in another. You’re never sure where it might go. But we’re also known for the rollers, so what we tried to do for Phoenix Rising was bring that rolling element with the schizophonic movement.


To finish the EP you’re hit with another surprise – a dub track, ‘Get Back Up’. Can either of you see yourselves pursuing a future outside of dnb?

Loxy: We like music in general, so this just comes from another influence. There’s a lot of music that we haven’t released that people are probably unaware that we do and they’ll be more surprises down the road. We’re big into dub.

Ink: Tha Lion has been a friend for a long time and he’s like family, so it was a no-brainer. Initially, we did something on the Architecture label and then laced up some vocals. I liaised with Lox but we didn’t have a soundtrack for it. He’s chatting like a DJ from back’a yard but then he goes into rap. It’s not quite dub and not quite Manifested Visions. You can hear the lyrical content and it’s got more of a structure.

What can we expect from you both in the future?

Loxy: We’ve got an album in progress for R&S, you can guarantee that we’ll have some more hip hop on there. Also, some other bits that people will be less accustomed to hearing us release but nevertheless we’ve been working on it in the background for many years.

I’ve got Cylon Records and Ink’s got Architecture, so expect releases on both of them.

I’ve got a few gigs this month, playing a Boiler Room night in Poland. There’s a backlog of gigs over the last year so there’s going to be an influx of events. The lockdown has removed the culture of ‘rinse and throw away’ because there have been no clubs to play in. People won’t be as hungry for the newer tracks as DJs will be looking back across the last year for pieces they’ve been wanting to play.

Ink: We’ve both got releases coming out on Dispatch ‘Blueprints’, both dropping this year. We’ve got a Metalheadz release which is a revisit to that nostalgic sound, that essence. It’s the reason why we were first interested in this music. We’re also both playing at Hospitality events in the late summer.

Any shoutouts?
Jodi Lulati, Miriam Safo, Tha Lion, Meriton, Gremlinz, Resound, Loomis, Pessimist, Overlook, Clarity, Kwest, J. Dub and S-Capade.

Listen to the Phoenix Rising EP by Loxy & Ink, out now on Spotify and available for purchase.


The post Loxy & Ink interview: lockdown, new music and their hip hop roots appeared first on Kmag.

World’s Collide: An Event for the New Era of Raving 

A brand new jungle / drum & bass night is coming to North London venue, The Cause on Thursday 22nd July with an enormous line-up. 

Chase and Status will be headlining the day party alongside Rage MC for an exclusive 90-minute set, alongside pioneers Fabio and Grooverider, with support from energetic newcomers Kara, Jappa and Zoro. 

World’s Collide is the official launch of a new ongoing collaborative brand between The Cause and venue residents, Motive Hunter and Modern Funktion.

This mammoth lineup does not stop there, as the party will continue into the night, with sets from Randall, Particle, Paul T & Edward Oberon to satisfy fans of darker drum & bass.

It is an exciting time for The Cause, with new parties supporting emerging talent and new developments within the venue that you can expect to see on 22nd July. 

But also keep your eyes peeled for World’s Collide, as this is not a one-off event. Expect a monthly party to fill your drum & bass void and slowly, Thursday will become the new Friday.


The post World’s Collide: An Event for the New Era of Raving  appeared first on Kmag.

Get To Know: Das Booty

Those that have been following Das Booty from the start know that they can throw a proper party. From their inception in 2018, they have come far and have established themselves as a staple event at South London’s Venue MOT. They have also expanded into a music label, with releases from Samurai Breaks, Shawn Cartier, Polo Lilli & Luke’s Anger. 

If you haven’t heard of Das Booty and you appreciate an eclectic mix of genres and dynamic lineups – this one’s for you. “Another thing I love is that Das Booty represents a multitude of genres, which I guess suits my style perfectly. I think Rory curates lineups that reflect that there’s always a lovely melting pot of styles and tempos throughout the night” says resident Osc Kins. 

A distinctive feature of Das Booty regulars is their zest and camaraderie, “If I had to pick two words to summarise Das Booty ravers, they’d be energetic and friendly. There’s always a lovely mix of people in from various branches of society and it’s really grounding to walk away from a rave with a touch more faith in humanity”, added Osc Kins. 

You’ll also find with Das Booty ravers that they have stamina and are there until the very end. In Osc Kins’ words: “To date, I think the best gig I’ve ever played was January last year; closing Venue MOT in the early hours of the morning to a still completely packed dance floor” 

We caught up with founder Rory on the current rave scene and what’s in store for Das Booty. 


How and when did Das Booty start?

The first Das Booty was in December 2018. It was a party for friends with all mates DJing – shouts out to Jerome Hill, Louse +1, Hughesee, Dave Shades, Boycey,Titus and Tensor! I wanted to do a party with all the music that I loved in one party as there weren’t many mixed genre parties at that time. It was Techno, Oldskool Hardcore, Jungle, UKG, Bassline, Ghettotech all in one night and it was banging from start to finish.

Over time the sound has evolved, as a younger bunch of DJ became known to me and it was very interesting to hear what they were into and how it could fit into Das Booty. Big ups the Hard and Nasty crew!

The 160/jungle footwork/turbo scene has also started to feature very prominently in our lineups. It’s very exciting as the scene is relatively young and the rules are still being made. It’s fresh and unpredictable which I love. It’s very important to me that Das Booty pushes things forward, while also holding a firm respect for the past. 


How did you get into the rave scene?

I was hugely into music as a teenager and snuck into my first club in 1996!! It wasn’t until 1998 or so that I went to my first ‘proper’ rave and I’ve been hooked ever since. It’s been a whirlwind of warehouses, clubs, squats, after parties, fields and festivals ever since. I’ve slowed down a lot since then, but it’s still the main focus of my life.


What has been one of the most memorable events you’ve been to? And the most memorable Das Booty event?

I guess my most formative years were spent in London squat parties, which definitely shaped my ethos of what makes a good party! Although to be truthful, memories are a little erm… hazy lets say… 

The Steart Beach rave was very impressive! Coin Operated at The Lord Napier in Hackney Wick was pretty mind-blowing. Don’t and Distant Planet are always consistently amazing.

I suppose the most memorable events were ones where we would get a rig and do a private party out in the countryside. All the ‘serious’ music was played in the night with the fun music coming out in the morning. Shout out to ASNS. Good times.

There’s been plenty of memorable Das Booty moments. January 2020. Warlock had been playing 2 hours of break step as part of a 2-hour rag & bone retrospective. The place was absolutely packed and it was like a pressure cooker in there. Mark ‘Turbo’ Turner came on to play a dance mania set…… and the whole place exploded. People lost their minds. Literally bouncing off the walls, humping the speakers, girls getting on guys shoulders, people just going berserk. It was like a medieval battlefield. That shit was bananas. 

Another was Dave Shades at their first birthday. He had just walked in the door from playing a set in Berlin. He smashed out a ghettotech/booty set throwing tracks in at breakneck speed, the whole time cutting, scratching, and beat juggling doubles at 170 bpm. The first 5 mins alone were mind-blowing, and he just kept ripping it up from there. You couldn’t stand too close to the decks, the energy was too overwhelming. That was the best set I’ve ever seen. It was ridiculous.

And of course, a special mention goes out to RRRitalin’s record-breaking spinback. 


What cultural changes will we see in the nightlife and events industry as clubs start to reopen?

There’s been a lot of talks of promoters supporting local artists over the big DJs. That’s something we’ve always tried to do anyway, as I think clubs should be about community rather than getting down whoever is famous that week. I guess we’ll see whether that comes true. 

I think clubs will be swamped as more people who aren’t so into regular clubbing will be itching to party too. I’m hoping that there will be a drive to have more interesting and exciting music than before the pandemic since people will be more open and positive about going out again. But equally, it could go the other way if promoters end up catering to a more mainstream audience. I guess time will tell.

I think there will be more diversity in lineups which I think is great. While we don’t have an actual policy of focusing on diversity, I think it’s always interesting hearing what a DJ has to ‘say’ with their music. And by now I think we’ve all heard what straight white males have to say. Let’s have some variety eh.  


Will raves have the same impact as they did throughout the summer of 2020?

I think that perhaps they will have more impact. People are really gagging to go out!  While we had some great parties over summer 2020, the police were breathing down our back the whole time which meant people couldn’t really let go.

We had a lot of positive feedback over the parties we managed to squeeze in over the limited time we had last summer. People were really grateful for the release. Even so, I don’t think anyone would describe them as mind-blowing – the restrictions were too much to truly let go of.

But this summer people will go nuts! The feeling of freedom will be phenomenal. 

It’s very interesting too if you look at the artwork most rave promoters are using for their flyers. Very positive rather than ‘edgy’. We’re all wanting to get on the dancefloor again.


What’s in store for the rest of the year?

We have a night at MOT coming up on the August bank holiday, with Tim Reaper, Samurai Breaks, Shawn Cartier, Polo Lilli, Angel D’lite, Osc Kins and Mixtress playing. 

We have two more parties locked in at MOT later in the year and possibly an NYE party somewhere else too!! We got a couple of smaller under the radar parties in the works as well so keep your eyes peeled for those. The label has a bunch of releases on the horizon too, which I am very excited about. 


Their next event is on 28th August at Venue MOT.


‘Can’t wait for the next one I’m buzzing’ – Osc Kins.

If you haven’t checked out our label you should….


The post Get To Know: Das Booty appeared first on Kmag.

MidiMini V30

MidiMini V30

Polyphony –
1 Voice
Multitimbral –
1 Part
Oscillators –
3 VCOs
Waveforms –
Pulse, Pulse Variable, Saw Down, Square, Triangle
1 LFO with Noise, Sample & Hold, Saw Up, Saw Down, Square, Triangle,
2 VCA with ADS envelope

Naomi Bolton
Mon, 07/12/2021 – 09:32

The V30 is an update of the famous Minimoog replica, the Midimini, released by Studio Electronics in the late eighties. As far as imitations went, the Midimini was one of the best around, so a refresh was long overdue.

The MidiMini V30 is still heavily inspired by the Minimoog and features a three oscillator core. However, Studio Electronics has converted it into a semi-modular analog synthesizer, complete with CV and gate connections. The company has also applied some of the technology from their Boomstar range to improve the MidiMini V30. The result is a synth with plenty of new analog synthesis options along with expanded MIDI capabilities.

The MidiMini V30 is a monosynth in a 19″ 4u rackmount format that adheres to the classic Minimoog architecture while adding plenty of new additions. This synth has a built-in power supply and is housed in a heavy metal casing. It feels incredibly durable, though, which is reassuring given the relatively high asking price. The fact that it is hand-built and uses high-grade components means that this is a synth that will not buckle under prolonged use, unlike many of the cheaper options out there. The through-hole construction of this synth also allows for easy long-term maintenance.

The signal flow of the MidiMini V30 will be familiar who used the original hardware and features three VCOs with triangle, sawtooth, sharktooth, and square waveforms. Studio Electronics also kept the VCO, VCF, and envelope design the same as the original hardware. The inclusion of a dedicated LFO is also a step up from the vintage MidiMini. The LFO features seve


Musical genre

Synth type

Interface features


Sound types

Price range

Studio Electronics midimini V30

Studio Electronics midimini V30 User ManualStudio Electronics midimini V30 User Manual


Studio Electronics Midimini V30 Demo With Patches [No Talking]



MIDIMINI V30 Oscillator Demo



User Rating
Monophonic instruments

Disqus comment

Karanyi Sounds Releases Minipol Software Synthesizer

Karanyi Sounds Releases Minipol Software Synthesizer
Naomi Bolton
Sun, 07/11/2021 – 08:38

Cherry Audio Teases Releases of Next Instrument

Cherry Audio Teases Releases of Next Instrument
Naomi Bolton
Fri, 07/09/2021 – 08:36

The Label Machine book helps you start, run and grow your own label

Whether you want to start a record label, self-release your own music, or are just an avid music lover, The Label Machine: How to Start, Run and Grow Your Own Independent Music Label will give you vital information about the business of music. It’s the first book to give music artists practical step-by-step comprehensive instructions for setting up and running an independent music label to successfully distribute and market their music.

Author Nick Sadler has produced, remixed, and toured as the artist Mobscene and co-founded Never Say Die Records, and Disciple Recordings. He also has experienced all aspects of artist and label management, working with artists such as Skrillex, The Prototypes, Zomboy, Eptic, The Freestylers and Flux Pavilion, gaining valuable insight into building artists careers.

“With so many modern artists starting their own music labels,” he says, “and with no book that covers this subject in detail, I wanted to write a practical guide that allows anyone to build their own successful music label to bring their music and talent to a worldwide audience.”

The book features a detailed breakdown of how every part of the industry works together, including copyright in the UK and US, record label set-up, record releases, and royalty collection. It also provides in-depth guides on marketing, covering; traditional PR, Facebook and Instagram advertising, Spotify playlisting, and fan growth. Includes templates for record label and management contracts, marketing and promotion schedules, press releases, and fan email automation.

If you’re in London on Thursday 22 July then look out for The Label Machine launch party on the amazing roof terrace of the CLF Art Lounge in Peckham. The free event will start with a music industry panel discussing Are record labels relevant for artists in a Spotify dominated world? Afterwards, there will be DJ sets from DJ Segal, Kyries and a special guest until midnight. You’ll also be able to buy signed copies of the book for £12 (cash) or £13 (card) instead of the usual £14.99.

The post The Label Machine book helps you start, run and grow your own label appeared first on Kmag.

By continuing to use the site, you agree to the use of cookies. more information

The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this.