Suchergebnisse: Dance Music

Notes: The Zoom MS-90LP+ is a versatile stereo looper. With the tap of your foot you can add loops, layers, effects and rhythm patterns. And with 32-bit float processing, the MS-90LP+ gives creators flawless audio quality every time.

Notes: Incredible value all-rounder from Zoom, the L-6 combines recording, mixing and performance features, with 10 studio-quality audio tracks, effects, MIDI and real-time sampling.

Supplier's Notes:
Small Just Got Very Big

The LiveTrak L6 is Zomo's most compact and portable digital mixer / recorder. With 10-tracks of studio quality audio, effects, MIDI, and sound pads, it's perfect for bands, synth players, live streaming, and more.

Full Featured Mixer

Don't let its size fool you. The L6 is designed with big mixer capabilities; a full channel strip for each track including aux sends, pan, effects, and a 3-band mid-sweepable EQ.

Powerful Multi-Track Recording

The L6 records 10 discrete tracks plus the full stereo mix on microSD cards up to 2TB. Share the live mix, or transfer your stems to your favorite DAW for editing and mixing.

MIDI Connectivity for Synths and Keyboards

Connect, program, and sync the L6 to your outboard gear via the 3.5mm MIDI I/O, or to a computer via USB.

Map parameter controls such as volume, pan, and EQ to outboard gear
Trigger sound pads and scene switching
Tempo sync delay and echo

Features

10-channel ultra-Compact digital mixer
2 XLR/TRS Combo inputs + 4-Stereo inputs
12-track simultaneous recording
MIDI In/Out for mixer control and USB MIDI interface
3 Scene memory for storing mixer and tempo setting
32-bit float multi-track recording to micro SD card
5 Internal Send Effects
2 AUX send outputs
4 Assignable sound pads (sample player)
3-Band EQ with MID freq control for each channel
Headphone output + Master output
Eurorack compatible
12-in / 4-out Audio interface
4 AA battery power operation or USB power

Specs
Input and output channels
Inputs MIC/LINE (mono) 2
LINE (stereo) 4
Outputs
AUX SEND (mono): 2
MASTER (stereo): 1
MONITOR (stereo): 1

Inputs

MIC/LINE:
Connectors: 2 XLR/TRS combo jacks (XLR: 2 HOT, TRS: TIP HOT)
Input gain: Adjustment unnecessary (dual A/D converter circuits used)
Input impedance:XLR: 3.8 kO or more, TRS: 39 kO or more
Maximum input level XLR: +4 dBu, TRS: +24 dBu
Phantom power: +48 V, Channel total of 10 mA or less

LINE

Connectors: 8 TS phone jacks (unbalanced)
Input impedance: 10 kO
Maximum input level: +9 dBu

Outputs

AUX SEND
Connectors: 2 TRS phone jacks (impedance balanced)
Maximum output level: +9.5 dBu
Output impedance: 147 O

MASTER
Connectors: 2 TRS phone jacks (balanced)
Maximum output level: +15 dBu
Output impedance: 147 O

MONITOR
Connector: TRS phone jack
Maximum output level: 50 mW + 50 mW (63 O load)
Output impedance: 14.7 O

Buses

MASTER: 1
AUX SEND: 2
SEND EFX: 1

Channel strip

3 BAND EQ:
HIGH: 10 kHz, +/-15 dB, shelving
MID: 100 Hz - 8 kHz, +/-15 dB, peaking
LOW: 100 Hz, +/-15 dB, shelving

Level meters: 6 segments
Send effects: 5 types

Recorder

Maximum simultaneous recording tracks: 12
Maximum simultaneous playback tracks: 2
Recording formats: 48 kHz, 32-bit float, mono/stereo WAV
Recording media: microSDHC memory cards (Class 10 or higher), microSDXC memory cards (Class 10 or higher)

Audio interface

Input and output channels: Input: 12 channels, Output: 4 channels
Sampling frequency: 48 kHz
Bit depth: 32-bit float / 24-bit
Interface: USB 2.0

Card reader: Mass storage class USB 2.0 High Speed
Sampling frequency: 48 kHz
Frequency response: 20 Hz - 20 kHz / -1.0 dB
Equivalent input noise: -120 dBu or less (IHF-A) at 150O input

Power
4 AA batteries - Alkaline, Lithium, or Rechargeable NiMH
AC adapter: ZOOM AD-17 : DC 5V/1A
USB bus power is supported.

Estimated continuous recording time using batteries
Alkaline batteries: About 3 hours
NiMH batteries (1900 mAh): About 3.5 hours
Lithium batteries: About 7 hours

12-track recording, phantom power off, headphones used (63O load), no MASTER output connections
These values are approximate.
Continuous battery operation times were determined using in-house testing methods.
They will vary greatly according to use conditions.

Power consumption 5 W maximum
Dimensions: 223 mm (W) × 114 mm (D) × 46.5 mm (H)
Weight (main unit only): 526 g
Weight (including batteries): 618 g
Note: 0 dBu = 0.775 Vrms

Notes: The H2essential is the only Handy Recorder with three internal microphones. With the ability to select different mic patterns, it gives creators more options than ever before. With two cardioid mics facing front and rear and a bi-directional mic facing side to side, the H2essential allows you to choose the perfect pick-up pattern for every recording.

Set your pickup pattern to 90O or 120O stereo, or choose mono for a hyper directional pickup, reducing background noise. Then choose to record from the front, rear, or activate both sides for surround sound pickup. Record in 32-bit float up to 96kHz ensuring high-quality audio without ever having to set gain.

When connected to a PC, Mac, iOS, or Android device using the USB-C port, the H2essential can be used as a USB microphone while simultaneously recording to the SD card. Connect the H2essential to your mobile device via USB and record professional audio directly onto your phone's video. Perfect for video podcasts and live streams.

Record in MS Raw and adjust the width of the stereo image in post production. This is helpful when you want to control ambient noise. The H2essential has advanced features such as a low cut filter, pre-record, auto record, and playback speed adjustment.

Using the BTA-1* Bluetooth Adapter, pair one or more H2essentials with your iOS device to remotely hit record and sync timecode. The H2essential is designed with Accessibility for the blind and visually impaired. Navigate the menu with audible descriptions through the built-in speaker or headphones. Creators can choose English, Spanish, French, Japanese, German, Italian or Chinese.

The specially designed windscreen for the H2essential provides wind protection when recording outdoors. The custom fit gives access to controls while the windscreen is attached. The 3.5mm input can accommodate audio players, keyboards, and lav mics with plug-in power. You can record with the front mic and the 3.5mm input simultaneously.

Use the mixer to easily adjust each track's audio level. The color LCD screen makes it easy to navigate through the H2essential's simple interface.The real-time waveform display lets you see your audio as it records.

Use the 3.5mm headphone output for headphones or connect directly to a camera. The onboard speaker allows you to listen to your recordings for quick reference as well as utilize the Accessibility functions. The H2essential supports SDXC cards up to 1TB.

The H2essential has a dedicated Marker button to instantly set reference points while recording. The H2essential can be powered by two AA batteries or via the USB-C port. This includes bus-power as well as external USB battery pa

Review: Parus is a Belarusian ethno-ambient project blending pagan songs with modern soundscapes and Zara is their debut album. Led by ethnographer and folk singer Hanna Silivonchyk, the record features traditional Belarusian songs in various dialects, all accompanied by synths and field recordings crafted by Anton Anishchanka. The tracks were gathered during ethnographic expeditions across Belarusian national parks, and songs like 'Soniejka' and the title cut offer intimate reflections on life, love and mythology. It connects to the past while maintaining a deep personal edge that makes Zara a fascinating exploration of Belarusian culture.

Review: Yves Deruyter has spent forty years as a pioneering force in dance music; kown for his huge sets and anthemic musical procurements, his trajectory follows a familiar arc as an early tooth-cutter on Belgium's underground scene heralding later international recognition. His hits like 'Rave City' and 'Calling Earth' shook the earliest and staidest foundations of trance. To celebrate his career, a new ten-vinyl compilation celebrating Yves' work here proves that relevance isn't about trends - it's about a distinctive sound and an undying connection to the dancefloor.

Review: It has been a rather remarkable three years since Yuko dropped its first release, but finally, they are back with more. It is co-founder Emo Omar who features both solo and in collaboration with Luje from Club Pizza while two exciting new French talents Chud and Vivant also make their mark. 'Pollen' is a bright and hooky melodic electro sound then 'You & Me' gets more percussive, with old school cow bells staying busy next to all sorts of wonky synth work. 'Tomorrow's Made Of Breaks' is built on rigid funk and trippy synth bleeps and 'Zeus' shuts down with some retro-future vocoder vocals. This is a great return from a label we hope now pushes on.

Review: And they say nobody makes amazing kids TV anymore. Or maybe that's just people who remember iconic series like The Trap Door, Button Moon, Pingu, Danger Mouse and Fraggle Rock? Either way, anyone who actually has children now will attest to the fact there are some great programmes doing the rounds. We fell pretty quickly for Octonauts, which focuses on a pack of underwater animal rescuers. Meanwhile Yukee, which presents the potentially terrifying prospect of a ukulele-wielding six year old, also won our hearts. Thankfully for us all, Yukee can play her instrument very well. So well in fact that this collection of songs from her first series is actually very enjoyable no matter your generation. OK, so maybe once you get onto the 25th play-through in a single afternoon there might be cause to switch things up, but overall these catchy folk-pop tunes are going to bring smiles to faces of all ages.

Review: Future Rootz has collaborated with Canal Sounds and EGREM for a gem of a reissue here that goes all the way back to 1977 when producer and bassist Jorge Soler stepped out as Grupo Yoyi for Yoyi, an album that marked his only known solo project. The record now sits up there as one of the rarest and most desirable albums from the Cuban musical canon as it is such a sublime fusion of Afro-Cuban rhythms with jazz, funk and disco. The musicianship throughout is exceptional with mesmeric synths and evocative horn solos all tethered to the sort of grooves that will either chill you out or heat you up depending on the setting.

Review: Half a century young, the third album from America's genuinely iconic leather-clad glam queen Suzi Quatro was a bit of sidewinder, seeing her switch from the brash rock pop fusion of her first two LPs to take in a funk influence, still working under the winning production duo of Mike Chapman and Nicky Chinn. Check the title track and its echoes of Sly & The Family Stone or Steve Wonder, wonderfully twinned with Quatro's sassy vocal attitude, for evidence of the stylistic refresh, her distinctive and groove-heavy bass playing pushed further into the centre of the sound. 'Can't Trust Love', meanwhile, is a headnodding, blunted delight, too, while the futuristic synths of 'Strip Me' are closer to Herbie Hancock's Headhunters than The Sweet in vibe. Well ahead of its time, this is timeless stuff.

Review: Notoriously elusive, sophisti-thereal pop/post-punk collective Vazz answer to almost no-one. Emerging from the same late 70s/early 80s mutant formaldehyde mists that spawned This Mortal Coil and Crepuscule, yet bringing the dream pop sound to Glasgow, Hugh Small and Anna Howson are still going strong as a boutique bringing-together of mindful, magnetic musicians, pedigreed for the seemly discotheque. First released on Cathexis Records, we are indeed much cathected to both EPs in this collection. In sloshing but somehow still self-contained fashion, 'Your Final Word' swims in reverb nearly to the point of drowning its own harmonies, yet breathability is somehow still retained. 'Bleached White Skin' is the perfect storm of wavy wash, operatic doublings and ditzy drum machine, and 'Breath' brings spring-verb coldwave stylings to a languorous, pitchy closer. Then 'Feverpitch' and 'For A Reason' hear the compilation sprawl further into arpeggiating tumult, as we move on to material from the 1987 'Feverpitch' EP. This 40th anniversary edition collates both EPs and adds a handful of unissued minimal wave pearls.

Review: Returning to vinyl for a 40th-anniversary edition, the Glasgow duo's singular approach to post-punk and coldwave is sure find a larger fan base with its fantastic vintage sound. Originally released in 1986 and formed by Hugh Small and Anna Howson, Vazz carved out a distinctive space in the mid-80s. Their soundia fusion of skeletal electronics, atmospheric guitar and hushed yet striking vocalsimelds the austerity of coldwave with the melodic sensibility of synth-pop. Drum machines pulse beneath shimmering textures, while Howson's spectral delivery drifts through the mix, lending an eerie, romantic detachment. Key moments highlight their range: 'Your Final Word' bathes in cavernous reverb, 'Bleached White Skin' sways with layered vocals and murky waves and 'Breath' lingers in icy, stretched-out melancholia. More rhythmically urgent, 'Feverpitch' and 'For A Reason' build on cascading arpeggios and taut structures. Vazz's work has grown in stature over time, finding a home in the post-punk imagination for its ghostly charm and understated allure.

Review: Seasons Limited made a welcome return in 2024 and now keeps up that good momentum with another big single from French house mainstay Franck Roger with some fine vocals by Paul B. It's a super smooth sound with drum swaying back and forth, molten synth adding late night and tissue soul and the tender vocal adding intimacy and late night romance. Rocco Rodamaal steps up for remixes and first of all he pairs things back to a sedate, seductive deep house roll then fleshes out the drums with some dubby weight to finish.!

Review: Famed for having hosted the likes of Hendrix and The Stones, the Moonlight Club in the basement of the vintage Hampstead pub The Railway, was a ram-packed sweaty room and a fantastic place to have seen Joy Division live. The Ian Curtis-fronted Macclesfield post-punk legends played three nights on the trot here and the setlist is the stuff of legends, nicely meandering through the best tracks from their Closer, Still, Unknown Pleasures albums and beyond. Side 2 includes a run of tracks that they recorded in the briefly opened and since demolished Factory live venue in Moss Side, Manchester, bringing you back to a time when the city was in its monochromatic prime..

Review: Culture Club legend and pop maverick Boy George makes a triumphant return for Record Store Day with an exclusive coloured 12" of a long-lost gem. Originally produced in the '90s and revived as a dancefloor hit in 2007, the wonderful 'You're Not The One' now receives its first proper vinyl release, having previously been CD only, with copies on second-hand markets fetching upwards of L450. Reimagined by original producer Kinky Roland, this version features standout remixes including a sleek Vocal and Dub version by house legend Eric Kupper and a genre-blurring rework by Grammy-nominated UK talent Paris Cesvette. Superb club-ready pop nostalgia.

Review: Established in the UK in 2009 as master-builders of disco-house builds in the late naughty noughties, Instruments Of Rapture first cut the red tape with Ilija Rudman's 'Part Four' and lasted for just three years until 2012. And while the early axing was a shame, we think real works of art are those which are short-lived but profuse in quality. Now kicking back into gear after almost 15 years, the label now return to double up as both label and moniker, humorously titled 'You're Cured Mate'. Described as a "soundtrack more hypnotic and deadly than ever", this new one follows 'The Formula' of cut-short, hypno-loop lyrics and carnal felid whispers (especially in '7 Grams Of Funk'), marking an EPs' worth of subtle libertinage in 2025, the year of the snake.

Review: This special 12" sampler, part of the forthcoming compilation, taps into the timeless spirit of the Paradise Garage with two unreleased collaborations that showcase the late Frankie Knuckles' legacy. On the A-side, the final production from Knuckles, alongside Kenny Summit and Eric Kupper, delivers a soulful, uplifting remix of Lou Rawls' "You'll Never Find Another Love Like Mine." It's pure house brilliance that captures the essence of the Garage sound. On the flip, the trio reunites for "Loving You," a Motown-inspired anthem featuring Yasmeen's powerful vocals. These tracks, which have been staple spins for DJs like Cajmere and Sonny Fodera, form part of a larger collection that celebrates house music's rich history, with remixes of iconic tracks. The cover art, designed by Alexander Juhasz, adds an extra layer of cultural significance to this must-have release.

Review: Reissued Sounds reissue Marc Bolan's first posthumous album, originally released in 1981, four years after the T Rex bandleader's death in a tragic car crash. Consisting of outtakes and demos recorded by Bolan in 1966, some of the songs would later be recorded by the remaining members of T. Rex; though most of these appeared in rawer form as part of the album The Beginning Of Doves in 1974. The title number brings the usual Bolanesque mix of raunchy vocal performances and fuzz-packed guitar rolls, while the likes of 'I'm Weird' and 'The Perfumed Garden Of Gulliver Smith' are undeniably more experiental offerings, it's a marker of where Bolan might have headed as an artist had his career noit been cut short so suddenly.

Review: For the unaware, Saada Bonaire's 1984 gem 'You Could Be More As You Are' is the very definition of a cult classic. Known for offering a chugging blend of new wave, leftfield synth-pop and post-disco dancefloor nous, it was produced by an obscure German DJ and fronted by two female vocalists. Those singers have now joined forces with producers Jens Mahlstedt and Ralph 'von' Richthoven to deliver a 2025 remake. It's presented in two distinctively different forms. On the A-side, we get the 'Super Disco Mix', a driving, bass guitar-driven affair that mixes replayed elements of the 1984 original (including some of the spellbinding synths) with clipped disco guitars and freshly recorded vocals. The flipside 'Bleep Mix' is not an early Warp style re-build, but in fact a slightly more electronic-sounding dub disco version.

Review: If you like the sound of a mystical fusion of ancient Japanese folklore and contemporary electronic music, this EP created by Italian producer Volantis and Japanese artist Hiroko is for you. Inspired by a psychedelic experience in Kobe, it blends hardware synthesis with haunting vocals to cook up otherworldly spiritual realms. The title track merges Hiroko's narration with Japanese train sounds while summoning ancient beings while Eden Burns' remix intensifies the ritualistic atmosphere. 'La Kappa' features Hiroko's playful vocals over dreamy sequences with Fabrizio Mammarella's Italorama Version adding a touch of Italo disco. The whole thing was co-produced with Niccolo Barozzi and bridges East and West seamlessly.