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NI challenged 24 contemporary producers to create a quick sketch using only instruments and effects from KOMPLETE 11. Here’s an exclusive playlist of the results, including each artist’s explanation of how they produced their sketch.
The 25th artist in the series is filmmaker Rainer Kohlberger, who brought each sketch to life with generative visuals. His algorithmic works use vivid color fields and free-flowing patterns to challenge human perception.
For more information and the videos go to: www.native-instruments.com/kompletesketches

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Komplete Sketches

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Songs of December - Recap

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Dwayne DJ Bravo - Champion

Akcent Feat. Amira - Push [Love The Show]

"This track is all about Reaktor Blocks. I’ve done about ten tracks now with an ensemble I made with Blocks. It’s very basic, to be honest, but I use it to the fullest. The patch contains a few 8-step sequencers, some drum stuff and the West Coast modules. I had an incredible amount of fun doing the tracks, and the first chunk of them came out on the Late-Night Patching 1 E.P in August through Entr’acte." - Yves De Mey

KOMPLETE 11 Instruments and Effects used: REAKTOR 6

For more visit www.native-instruments.com/kompletesketches

Sketches 023 - Yves De Mey

"A big part of my productions are drum-based and very rhythmical, so I started out using Drumlab for a bongo loop. I mostly ran Battery’s VST library for the kick, stabs, snare and hi hat. I processed the dynamic, length, partial effects and tuning of the samples within Battery and added some reverb, slight distortion and EQ for some more grit and ‘personality’. The synth comes from Rounds, and the bass part from Monark, processed with EQ, distortion and automation on the filter, tremolo and pitch. Usually when I’m working on a new idea, I start out writing a few loops that include way too much information, and then drag the whole thing out to work on song structure, sonic details and general imagery until I’m satisfied with the results." - Ziúr

KOMPLETE 11 Instruments and Effects used: DRUMLAB BATTERY 4 ROUNDS MONARK

For more visit www.native-instruments.com/kompletesketches

Sketches 009 - Ziúr

"There are only three main elements here: drums, synth and brass. I used Polyplex for the drums and Rounds for the main synth. There is some symphonic brass layered with the synth to make it more epic, washed out with reverb on Space Master from Reaktor. I like the fact that it sounds pretty big and deep although there are only 3 tracks involved.

The whole song was pretty much done in 2 single takes, one for the drums, all played on the keyboard, and one for the synth. There were only minor touch ups on the drums (where I played a little loosely) and a few arrangement corrections – mainly shortening parts." - Robot Koch

KOMPLETE 11 Instruments and Effects used: POLYPLEX, ROUNDS, SYMPHONY ESSENTIALS - BRASS, REAKTOR 6

For more visit www.native-instruments.com/kompletesketches

Sketches 013 - Robot Koch

"With my sketch I started off with a classic drum kit, Standard 909. I then added a Reaktor synth from the Carbon 2 library called 3step908 and began layering melodies on top of it like a collage. From Reaktor, I then added from the 2-Osc library ARPBRI~1. Proceeding to FM8, I made a few customisations to the Subbaba bass synth to make it smoother and accompany the thin strings. The classic 909 drum kit needed a sister, so I added a the Studio Gong preset kit from Battery. Lastly, I added a brass melody from the old Reaktor library." - Angel-Ho

KOMPLETE 11 Instruments and Effects used: REAKTOR 6, KONTAKT 5, FM8, BATTERY 4

For more visit www.native-instruments.com/kompletesketches

Sketches 005 - Angel-Ho

"First I laid down the kick drums using Polyplex. When I'm trying to get a sketch down quickly I'll go straight a preset that I like and then modify it a little and replace some samples with my own. Next, I added the Session Strings layers and used the pitch control on the keyboard to create that ebbing effect and automated the reverb so that it would open up gradually throughout the 30 seconds. The track begins with just violin, but cello and double bass are introduced as the loop gets more intense. I used Razor to create the pulsing bass throughout and automated the bandpass cutoff to give it some movement. Lastly, I put the Driver on the strings group and gradually brought the effect in." - WIFE

KOMPLETE 11 Instruments and Effects used: POLYPLEX, SESSION STRINGS, RAZOR, DRIVER

For more visit www.native-instruments.com/kompletesketches

Sketches 004 - WIFE

"I wanted to keep a pure signal from each part to allow for space. A kind of serene, altered state of consciousness. To effect the vox I used the Solid Dynamics EQ, Replika and the convolution reverb Reflektor. Both Replika and Reflektor are awesome on vocals - airy and never aggressive or metallic. The synth comes from Reaktor Prism. It has a huge identity and can define a track on its own. I effected it with Solid Dynamics EQ.

I used three bass sounds. The first from Kinetic Metal - I love the whole kit. It's deep, industrial, texturized and spacey. The second was Massive - I've been using it for a while now. The third bass comes from Reaktor 6's Lazerbass which is really rewarding with very few tweaks – it's sharp and always evolving. I combined it with the Enhanced EQ. The drums are from Battery and Action Strikes with effects from Replika and Driver." - Aïsha Devi

KOMPLETE 11 Instruments and Effects used: SOLID DYNAMICS, REPLIKA, REFLEKTOR, REAKTOR PRISM, KINETIC METAL, MASSIVE, REAKTOR 6, ENHANCED EQ, BATTERY 4, ACTION STRIKES, DAMAGE, DRIVER

For more visit www.native-instruments.com/kompletesketches

Sketches 003 - Aïsha Devi

"I made this sketch using a selection of presets in Massive: 1991, Astral Saw, and Slightly 5th. Some are quite bassy whilst others are more focused in the top end, with a kind of ethereal pad-like sound. The idea was to create a piece with lots of space in it by utilizing a wide frequency range, emphasized further by track panning. For each synth sound I adjusted the filters in Massive. By adjusting the cutoff and resonance, you can create nuanced changes in the sound and feel which helps to give a fluid, ever-shifting character to the music.

To make the whole piece sound together and even 'bigger', I added the built-in reverb to each Massive synth, then I worked on the track panning. The low bassline synth is panned to centre, and each layer of sound above that is panned wider as it gets higher, with the highest sounds panned hard to the right and left." - Throwing Shade

KOMPLETE 11 Instruments and Effects used: MASSIVE

For more visit www.native-instruments.com/kompletesketches

Sketches 002 - Throwing Shade

"In this track I focused on percussion. I used several percussion sections of Komplete Ultimate, which consisted of West Africa, Cuba, and India. I decided to use timbales from the Cuba pack because the sound slaps so hard. Impact is everything to me but knowing what to do with that impact means so much more. The different versions of the djembe in the West Africa pack are amazing. I decided to use djembe 1 and 3, as they were the two that gave me chills. I enjoy making up my own sequences and what better way to do than to do that using India. The entire India pack gives you so much room to be flexible." - Jlin

KOMPLETE 11 Instruments and Effects used: WEST AFRICA, CUBA, INDIA

For more visit www.native-instruments.com/kompletesketches

Sketches 001 - Jlin

Watch video on Noisey: https://noisey.vice.com/en_uk/article/ripsy-mays-video-for-dare-is-what-true-freedom-looks-like

Written by The Palms & Ripsy May

@ripsymay
@thepalmsmusic

www.ripsymay.com
www.thepalmsmusic.com

**

Video directed by Tigran Tovmasyan & Ripsy May

www.tigrantovmasyan.com

Dare

"Learn My Life" is taken from Cloud Nothings' forthcoming 7", available exclusively on their North American tour this January / February. 

Tickets on sale now: http://www.cloudnothings.com

January 26th – Cleveland, OH – Beachland ballroom
January 27th – Toronto, ON – Lee’s Palace
January 28th – Montreal, QC – Fairmount Theatre
January 30th – Philadelphia, PA – Union Transfer
January 31st – Boston, MA – Paradise
February 1st – New York, NY – Webster Hall
February 3rd – Baltimore, MD – Ottobar
February 4th – Columbus, OH – A&R Music Bar
February 6th – Grand Rapids, MI – Calvin College
February 7th – Detroit, MI – El Club
February 9th – Madison, WI – High Noon Saloon
February 10th – Chicago, IL – Thalia Hall
February 11th – Minneapolis, MN – Fine Line
February 12th – Milwaukee, WI – Turner Hall
February 15th – Portland, OR – Doug Fir Lounge
February 16th – Vancouver, BC – Biltmore Cabaret
February 17th – Seattle, WA – Barboza
February 18th – Seattle, WA – Barboza
February 20th – San Francisco, CA – The Independent
February 22nd – Los Angeles, CA – Teregram Ballroom

"Learn My Life"

Awaited for years by the large nationwide cult of Boggers in the know, Erin Birgy’s second LP at the helm of the fog-shrouded ship they call MEGA BOG is an instant and timeless classic. It’s equal parts nostalgic and futuristic, mapping a new, jazz-literate and free form of songcraft onto the model of the traditional guitar-based band. It’s poetry on roller skates, defying recognizable structures in favor of a stream-of-consciousness flow that guides Erin’s lyrics around their many soft and uncertain turns. It’s an inspiring example of a unique vision carried to it’s most honest and vulnerable realization. Happy Together was assembled on tape amidst a lot of movement, including Erin’s relocation from Seattle to New York. Like Joni Mitchell or Beefheart, Birgy has a seemingly magical ability to steer a diverse bunch of players into her own dream-world. And this album has a lot of players, many with big credentials we’ll refrain from mentioning (except for Zach Burba and Will Murdoch from IJI, and James Krivchenia from BIG THIEF, who earn mentions for being particularly present). Considering its variety of personnel and its long gestation, Happy Together is a remarkably consistent and complete record that cuts the deepest when experienced from start to finish, as it arcs from the surreal bubblegum tempos of “Diznee” and “Marianne,” thru the extended dreamscapes of songs like “192014,” and out to the free-wheeling catharsis of “Blackout” and “Fwee.” Take the journey.

Mega Bog - London

Awa Poulo "Djulau" from the album Poulo Warali, out now on Awesome Tapes From Africa (LP/CD/Digital). 
https://awapoulo.bandcamp.com/album/poulo-warali
Pre-order: http://amzn.to/2hhXxCn * http://apple.co/2hhVSfX * NL/BE http://bit.ly/2gdEynf * FR http://bit.ly/2h8IFpp * DE http://bit.ly/2gm2W9G 

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. 

It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record.

On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance.  

This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. 

Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

Poulo Warali

Awa Poulo — Djulau

One Of My All Time Favourite Qawali.......
Nustrat Fateh Ali Khan 

Nusrat Fateh Ali Khan - Mast Nazron Se Allah Bachaye

singer : muhammad al salimsong : galb galb wen wenenglish translation :قلب قلب وين وين غايب علية يومين(My) heart (my) heart, where have you been away these past two days?لتغيب اكثر حبيبي خاف اموت من الحنينDon't stay away any longer, I'm afraid I'd die from longingحبيبي ناسي لو شنوMy love, what is it? Have you forgotten already?شو بسرعة تنسى ياحلوYou forget things quickly beautiful one!مآتقلي يمعود شكو يعني شكو*Please tell me what's the matter?لك ليش لك يابذات مو قلتلي اشبعك بوساتWhy do you forget quickly?You once told me you'd give me kissesبذنك اسمعك غنوات صوتي حلووI'd sing to you songs, I've got a beautiful voiceقلب قلب ليش اتروح ضليت بعدك مجروح(my) heart, why did you leave? I've been hurt by youمن غبت عني حبيبي حسيت طلعت الروح*I felt like my soul got out of my chest when you went away my loveبغيابك اني اتعذبت واتلوعت واتمرمرت*In your absence I've suffered and got torturedوانت علية اتأخرت يعني شكو*And you're late, what's the matter?لك ليش لك يابذات مو قلتلي اشبعك بوساتWhy do you forget quickly?You once told me you'd give me kissesبذنك اسمعك غنوات صوتي حلووI'd sing to you songs, I've got a beautiful voiceقلب قلب ليش اتغيب تترك حبيبك مو عيب(my) heart why did you leave? Don't you feel ashamed for leaving me?واني بغيابك انجرح وبجيتك جروحي اطيبI've been wounded by your absence, but my wounds are healed by your arrivalاريد من عندك وعد ماتفارق عيوني بعدI want you to promise me that you won't be out of my sightفدوة الك روحي والكبد بعد شكوI'm all yours, what do you want more?لك ليش لك يابذات مو قلتلي اشبعك بوساتWhy do you forget quickly?You once told me you'd give me kissesبذنك اسمعك غنوات صوتي حلووI'd sing to you songs, I've got a beautiful voice

Galb Galb Wen Wen

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