Native Instruments releases Komplete 15, Kontakt 8, and Kithara
The biggest Komplete update ever includes over 50 new instruments, effects, and expansions, offering everything you need to make the music that matters to you.
Berlin, September 23, 2024 – Native Instruments is proud to release the biggest update ever to its flagship production suite, Komplete 15. Now available worldwide, Komplete 15 offers an incredible selection of sounds and endless ways to shape them. Order before September 30 and receive iZotopeʼs Neutron 4 professional mixing suite for free (worth $249 USD).
Whatʼs New in Komplete 15?
Komplete 15 introduces over 50 newly included instruments, effects, and Expansions, providing an unparalleled range of creative tools to take your productions from start to finish. Whether you’re scoring a blockbuster film, producing chart-topping hits, or exploring new sonic landscapes, Komplete 15 provides a vast array of sounds to keep the creative flow going.
Highlights include:
● Kontakt 8, included in Komplete 15 Standard, Ultimate, and Collectorʼs Edition, is the latest version of the industry-standard sample-based instrument platform used by the worldʼs top producers, composers, sound designers and studios. Kontakt 8 introduces new Chords and Phrases Tools that can be paired with your favorite Kontakt instruments to quickly spark ideas and unlock new creative possibilities. Leap opens a world of looping and experimentation, while Conflux, a new hybrid instrument using enhanced wavetable features, allows you to modulate organic and synth-based sounds in real-time.
● Kithara, available as part of Komplete 15 Collectorʼs Edition, is a cinematic collection of guitars and plucked string instruments transformed with creative performance techniques and lush sound design. From classical, flamenco, and steel guitars to the balalaika, cuatro, and ronroco, each instrument is recorded in stunning detail, creatively performed, and transformed with rich sound design. Kithara blends raw, organic tones with modern possibilities, letting you craft everything from delicate plucks to sweeping textures.
Komplete 15 comes in four versions: Select, Standard, Ultimate, and Collectorʼs Edition. See exactly whatʼs in each version here.
● Komplete 15 Select—the gateway to professional-grade sound is now available in three editions:
○ Beats: Designed for beatmakers, and perfect for hip-hop and R&B
○ Band: Featuring sampled instruments ideal for songwriting and jamming ideas.
○ Electronic: Powerful tools for electronic music producers.
● Komplete 15 Standard Includes the new Kontakt 8 along with more than 95 pro-grade instruments and effects, over 40 Expansions, and over 50,000 sounds. Get Ozone 11 Standard, Massive X, and many more powerful tools.
● Komplete 15 Ultimate Includes over 150 premium instruments and effects, ranging from cutting-edge synths to detailed symphonic sample libraries, and more than 70 Expansion sound packs. Aliciaʼs Electric Keys, Ashlight, and Action Woodwinds are among the new products in Ultimate.
● Komplete 15 Collectorʼs Edition The complete production package with over 165 instruments and 120 Expansions, providing unparalleled resources for professional production, scoring, performance, and sound design. Fables, Valves Pro, and the brand-new Kithara are new additions to crown Native Instrumentsʼ richest collection yet.
Newcomers to the world of Kontakt and Komplete can try Komplete Start, a vast collection of free plugins, synths, and effects.
Starting today, Komplete 15 is available from the NI Shop and select retailers.
Product
Update Pricing
Upgrade pricing
MSRP
Komplete 15 Select (price for one Edition)
N/A
N/A
$99 / €99
Komplete 15 Standard
$199 / €199
$499 / €499 from Select
$599 / €599
Komplete 15 Ultimate
$399 / €399
$1099 / €1099 from Select $599 / €599 from Standard
$1199 / €1199
Komplete 15 Collectorʼs Edition
$499 / €499
$1199 / €1199 from Standard $599 / €599 from Ultimate
$1799 / €1799
Kontakt 8
$99 / €99
$149 / €149 Crossgrade
$299 / €299
Kithara
N/A
N/A
$199 / €199
Special offer
Order before September 30 and receive iZotopeʼs Neutron 4 professional mixing suite for free.
ABOUT NATIVE INSTRUMENTS
For over 25 years, Native Instruments has been at the forefront of musical innovation. Our technology has revolutionized how people express themselves through sound across the world.
Today, we work to provide everyone with access to the worlds of music production, audio engineering, and DJing. Our portfolio contains industry leading products such as Komplete, Kontakt, Maschine, and Traktor.
In June 2023, iZotope, Brainworx, and Plugin Alliance became part of Native Instruments, further strengthening the breadth of our offerings, the expertise of our team, and the potential to offer our community a streamlined customer experience. With our powers combined, we have engineering capabilities across integrated software and hardware, AI and machine learning, the cloud, and more.
The iconic mixing and mastering flagship adds new processors, a supercharged mastering console, side-chaining, improved metering, convenient module management and much more.
September 5, 2024 – IK Multimedia, the leading innovator in music software and hardware, proudly announces the release of T-RackS 6, the latest generation of its acclaimed mixing and mastering software. With innovative new modules, improved capabilities, faster workflow and more effortless organization, T-RackS 6 expands on its legendary sound quality, speed and ease-of-use to offer everything musicians, producers and engineers need to craft the perfect track.
The One-Stop Mixing and Mastering Suite T-RackS 6 offers 60 world-class mixing and mastering processors, available individually in any DAW, as an all-in-one plug-in or as a standalone Mastering Console. Also included are T-RackS’s celebrated presets covering every instrument and genre, providing instant starting points and minimizing time spent tweaking so users can get their hits done.
From studio must-have compressors, EQs and channel strips, all leveraging IK’s industry-leading analog modeling technology, to hall, room, plate and spring reverbs based on some of the most iconic studios of all time, to cutting-edge digital processors and organic all-in-one units, T-RackS 6 offers every tool users could need to shape their mixes and masters.
New Generation Master Match Users can more precisely shape their mix by selecting a reference from a track they love. The new Master Match X takes a mix from that starting point to a final, polished, distribution-ready master that shines with the same sonic aspects as the beloved reference track. It’s done automatically and then can be fine-tuned to adjust the results to match each user’s vision of perfection.
Search Less and Save Time The new Modules Manager allows users to manage which modules appear in their DAW, T-RackS 6 plug-in and Mastering Console. Users can now show or hide the plug-ins in their lists. They can conceal unowned processors or leave them visible to demo as needed – it’s all in users’ hands.
The Most Powerful Processors Ever T-RackS 6 expands its plug-in collection with eight new modules. These new modules provide a wealth of options for mastering, mixing and creative sound design:
Master Match X: The next generation of intelligent mastering: instantly analyze a reference song to match EQ, balance, compression, limiting and more. With internal or external references and a wealth of controls, anyone can create professional-sounding masters almost instantly.
Channel Strip X: T-RackS’ most advanced channel strip ever, this versatile unit delivers EQ, de-essing, dynamics processing and transient shaping in a single lightning-fast unit, with tailored presets for various instruments and ensembles.
Bass ONE: Innovative, organic multi-algorithm processor that makes the low end thick, solid, clean, uncluttered, precise and powerful.
Lo-Fi Punch: This harmonics and dynamics multiprocessor can add and alter the audio texture, ranging from subtle warming to total squashing. It has dynamic tone shaping and convenient control to add textures, thickness, dimension, grit, life and movement.
Dual Spring: Spring reverb is one of the foundations of everybody’s sonic memories. Everything processed with a spring becomes fascinating, intense, dreamy and mysterious yet comfortable and familiar. The Dual Spring pushes the concept by adding never-before-seen parameters to a spring unit, such as selecting the spring material, using stereo or mono single reverb, reverb length, reverb stretch, and more. It offers classic analog tone with digital flexibility and convenience.
Delay Lab: This powerful delay unit adds movement, space and depth to vocals, instruments, rhythmic patterns and everything else. Its delay unit is clear and open-sounding, giving everything space and a sense of dimension.
Pusher: Saturation driven further. A unique 4-band processor that offers five different saturation types per band, along with envelope, drive and color controls. With limitless options, from subtle enhancement to trashing total distortion, it’s always musical and creative with all independent saturation types and settings per band.
Filter Fusion: This do-it-all filter processor offers five unique filter types, including a model of the iconic Moog® transistor ladder. It’s combined with a dizzying array of controls and options, including a step sequencer for rhythmic use and an innovative modulation joystick for incredibly nuanced and expressive effects.
Refined, Resizable GUI The redesigned graphical user interface (GUI) is engineered for speed and functionality, providing a faster, more responsive experience and offering re-sizing to adapt to users’ workflow preferences. Each plug-in can now be resized on the DAW screen, even to tiny sizes, to keep them open while mixing, dramatically improving the mixing workflow and allowing more concentration on the sound.
Side-chaining All T-RackS compressors have been updated to add side-chain input, which allows control of the dynamics using a different signal for added flexibility.
All New Mastering Console T-RackS 6’s Mastering Console has been designed for a fast and smooth user experience. Users can import mixes and set a specific mastering chain per song, with instant total recall of the whole song’s chain and parameters on playback.
In addition to the dedicated song-based processing, a new master bus lets users add up to four additional processors that will be applied to the whole project to, for example, alter the color of the entire record with just a single post-EQ and apply a global final limiter. I/O metering on each module in the chain allows for an instant check of the gain staging and keeps all levels under control on a single page.
Preset Browser Easily browse, find and check presets on a floating window with tags and a smart search function. Then, apply what’s needed to the project.
New Metering Accurate, extensive and complete audio metering is a must today. The T-RackS 6 multi-standard-compliant Loudness meter (EBU R128, ATSC A/85, OP-59, TR-B32) allows for immediate checks for the compliance of content audio tracks – true peak PPM, Dynamic Range and RMS – all with both graphical and numeric readout.
Sonogram and filter-based smooth RTA make T-RackS 6 Metering a true professional toolkit. The tailorable and customizable Metering View gives complete control over what to show or hide on the meters set on each project.
Something for Everyone T-RackS 6 will impress existing T-RackS users who want more control while having greater flexibility to customize and streamline workflows. New users will be blown away by this comprehensive suite of tools, which sounds fantastic and is easy to use.
A New Gateway T-RackS 6 INTRO is a free version that offers immediate access to three essential modules for users to keep – the Classic Comp, the Classic EQ and the Master Match X lite – with the convenience and high-definition sound quality of paid T-RackS 6 versions. Users can also quickly explore and test any of the 60 available modules for 14 days without any commitment to buy, restrictions or white noise. Please note that porting modules from T-RackS 5 is only possible with a paid version of T-RackS 6.
Compatibility and Accessibility T-RackS 6 is designed to be fully compatible with Mac and Windows platforms. It supports all major plug-in formats, Audio Units, VST 3 and AAX.
Existing T-RackS users can enjoy exclusive upgrade savings:
Upgrade to T-RackS 6 MAX
For existing owners of any T-RackS product: $/€199.99 For existing owners of 25+ T-RackS processors: $/€149.99*** For existing owners of 50+ T-RackS processors or T-RackS 5 MAX v2: $/€99.99***
Free plug-ins included
*No module porting from T-RackS 5. **All pricing excluding taxes. *** Via coupon automatically applied at checkout.
For more information about T-RackS 6, please visit:
Recently, new vocoders, voice distorters and “auto-tune-wanna-bes” have been officially released from various developers. Sometimes it can be difficult to find ones way in this jungle, but we still try to clarify the concepts a little bit…
Antares and their Auto-tune variants were for a long time quite alone in this niche, but soon both software and hardware appeared that wanted to help musicians, vocalists and producers to create a sound of their ”own”. The result, of course, was that everything sounded quite similar in many ways. If everyone tries to sound like Daft Punk or Cher, the result will unfortunately not sound very personal. But now, at least, the developers behind Baby Audio are working hard to make us sound really different on our vocal tracks. Their Humanoid is a really exciting plug-in, and of course I felt compelled to check it out.
Baby Audio
Pasadena-based Baby Audio has long seen it as its mission to develope truly creative tools for music creators. And they have succeeded very well in this. If nothing else, the glowing reviews their plug-ins have received from music magazines in all corners of the world attest to this. Magazines such as Future Music, Sound on Sound and Computer Music have literally fertilized their pages with superlatives when they tested the company’s various plug-ins.
Since 2019, they have managed to release no less than 12 different plug-ins, and there is no indication that the inspiration of the developers at Baby Audio would run out. On the contrary… With the latest addition to the plug-in range, Humanoid, they show that they are prepared to go as far as humanely possible.
Humanoid
The developers themselves refer to their plugin as a ”Vocal Transformer / Hard-Tuner Plugin”. With Humanoid you can really screw up a vocal track in the most amazing ways. I’ve looked at a lot of similar plug-ins lately, but this is unlike anything I’ve come across before. Surely, some other plug-ins can be made to sound a little odd at times, but for the most part these are pretty pale copies of the classic hardware originals. But Baby Audio doesn’t stop at emulating hardware vocoders; you go All-in! Here, in addition to a normal vocoder sound, you can also create completely freaky robot voices, MIDI-controlled Daft Punk choirs, and much, much more.
The most advanced plug-in from Baby Audio?
Yes, even I am inclined to resort to such superlatives. If you start from the 180 ready-made factory settings (they are called presets in other parts of the world) you can have just as much fun as you like. There are voice effects to explore here, so it will last you many hours. But why stop at exploring presets? Humanoid offers tons of tools and customization options. It could make any experienced and calm minded sound creator going completely bananas and completely off his/her rails. And you can dig in as deep as you want; if the usual sliders are not enough, there is often a ”cogwheel” that opens additional functions.
By clicking on a cogwheel under a function, you can access additional setting options. Also you can choose a darker interface if you prefer.
Basic adjustments
If we start by checking out the most common functions, there are already plenty of possibilities for acoustic extravagances here. We have a Pitch part where you find all kinds of tools to adjust which key and/or scale we want to be in, but here there are also settings for quantization, ”robotizing” the voices and formant adjustment of them. For three of the functions, we also have the previously mentioned cogwheel that opens up further adjustment possibilities.
We also have a synth section with lots of possibilities to affect the sound. In addition to a variety of waveforms to begin with, there are also many possibilities here to further change the sounds. From the factory, the app already has 64 ready-made wave-tables and you can also import your own.
Then you can change the waveforms, time-stretch, add notes, octaves above or below, and with the transform function also ”morph” between different settings. And of course you can also control effects and create voices from your MIDI keyboard.
The question is whether Humanoid is a synth that can be controlled with vocal elements or the other way around?
In the Utility section there are settings for range, de-essing, gating and smoothing, plus a sharpen effect that further twists the vocal effects. And whiel we’re talking about effects, of course we have to mention the ones included in this app: widen, warble, buffer and freeze. Widen is an excellent stereo widener, warble gives some sort of combined vibrato/tremolo effect, but with its own twist; buffer takes care of the buffer size and freeze of course freezes the sound temporarily. All extremely helpful!
To all this we also add a powerful filter section with both high and low pass filters, plus a really good boost function.
Can you make it sound “normal?”
Well, that’s not the idea of Humanoid…
Here, instead, you can achieve really hard and fast tone adjustments that sound like a much too hard ”Auto-Tune” setting, but here you can also create robotic voices, and other strange voice parts; well, pretty much anything you can do to distort a normal singing voice.
If you can already sing cleanly and nicely in pitch, then Humanoid will make it sound completely different. And is it the other way around that you have difficulty with singing and that you’re usually forced to go on a hunting trip for the right key; yes, then in Humanoid there are always tools that can add a little extra creativity to your voice.
Humanoid can manipulate a singing voice in every imaginable way, plus a few ways you absolutely didn’t think of. And you always have the option to add as much of the effect to your voice as you think it needs with the dry/wet knob found in the output fader’s calibration panel.
The synthesizer offers lots of different waveforms, and you can also import your own wave-tables.
Not AI based
The developers firmly claim that no Artificial Intelligence has been used, exploited or harmed in the development of Humanoid. The program has been developed by ordinary, but perhaps a little extra intelligent, people. And even if the name Humanoid indicates that we could be dealing with some superhuman being, Humanoid is very much about taking the turns vocally as far as is now humanly conceivable – and then some more…
Among all known producers we find names such as
Rob Kleiner, Smitty Soul, Tommy Lee, Jae Deal, Dimitri Tikovoi, Ronan, Chris Murphy, Matt Sin and Dakota G.
They are producers who have worked with artists such as Childish Gambino, Usher, Nicki Minaj, The Chainsmokers, King Crimson, Placebo, Blondie, Lady Gaga, Janet Jackson, Sia, The Weeknd, Motley Crüe to name but a few…
And they are all ready to sign that Humanoid is the best thing to happen to humanity since pre-sliced bread.
Summary
Humanoid is an extreme vocal tuner. You just need to decide what key and scale the vocals will be sung in, and how much quantization you want to use. The app does the rest.
It’s also a voice-controlled synth. Turn the transform knob all the way to the right and you have a wave table synth that you can control with your voice. Amazingly cheeky!
You can also use it to create robot-like voices that bear no resemblance to your own voice.
Then, of course, you can mix all these effects and create something that has never been heard before. Last but certainly not least, you can use your MIDI keyboard to create and play Imogen Heap-inspired vocoder choruses with any number of strange voices.
In short; imagination is your only limitation when using Humanoid. Admittedly, this is a pretty well-worn cliché, but rarely has it felt more accurate. So damn good!
Links
This video shows how Humanoid works and what it sounds like
FACTS & FIGURES
Plugin formats: VST, VST3, AU, AAX (64-bit).
Supported platforms: Mac OS 10.11 and later (including Native Apple Silicon M1/M2 compatibility). PC Windows 10 and later.
Supported DAWs: All the majors, including Ableton Live, Pro Tools, Logic Pro, FL Studio, Cubase, Studio One, Bitwig, Reaper, Reason, etc.
MeldaProduction just recently celebrated its 16th anniversary. However, the company have one more present for the users and for themselves as well. They now present version 17 of all their plugins.
Introducing MPluginManager
The most important thing in version 17 is the improvement of the users comfort. Therefore, MeldaProduction created MPluginManager, which takes care of all your installations and licensing. It will keep your plugins updated, and will help you to install or repair anything without downloading unnecessary data. From now on, you will be able to manage your licenses and subscriptions from one place. (Get it in the Downloads section)
New instruments to play with
The Companys universal modular virtual instrument, MSoundFactory, gained several new cool addons. You may check Cyberpunk Bass, Trap Bass, Cyclicity, Ethereal Keys, Alchemist Whoosh, and Organic Scape. All of them are, of course, free for the license owners.
Other notable updates
MeldaProduction worked hard to improve the efficiency of the core and updated the compatibility of all their plugins (including the free ones) to meet current standards. Some plugins like MTurboDelay gained a lot of new presets.
Start your trial version again!
Even if you have installed previous versions, you can start your 15-day trial version again. Get MPluginManagerand dive into the plugins right now.
You don’t have to BUY the plugins
Just a reminder. The best way to use all of the plugins immediately may be to use the Subscribe-To-Own programme. All the plugins are at your fingertips for just €15 a month.
Free-for-life updates
Of course, upgrading to version 17 of the plugins is free for all existing users, as always.
I took the liberty of recording a little instrumental blues sketch – simplest setup imaginable. Two chords, E minor and A major. For the accompaniment, I used some of my most valued plugin instruments: EZbass, EZkeys 2 and Superior Drummer 3, all from our friends up north, Toontrack company. For the electric guitar – my trusted old white Strat build, from the Musikermagasinet build series – I used a “sampling” of my own amp build, the Tweed Deluxe. I have written about this in the magazine as well. I used the magnificent TONEX software from IK Multimedia to take an audio ”fingerprint” of my amplifier. The result…? Yes, you can hear for yourself.
Known for his electrifying live performances, the Irish musician and songwriter Rory Gallagher (1948-1995) was an inspiration to his fans and musicians alike and is considered as one of the most esteemed guitarists of all time.
Now the collection of RoryGallagher will come to auction at Bonhams on 17 October in New Bond Street,London.
The Rory Gallagher Collection consists of an exceptional selection of guitars, amps and accessories from Rory Gallagher’s life and career, all offered directly from the Gallagher family. The collection is led by Gallagher’s iconic 1961 FenderStratocaster, arguably the most recognisable Strat in rock history. It will be offered with an estimate of £700,000 – 1,000,000.
Rory Gallagher bought the guitar for £100 on credit from the owner of Crowley’s Music Store in Cork, Ireland in 1963. According to legend, it may have been the first Stratocaster to ever reach Ireland. It became synonymous with Gallagher and its wear and worn finish have made it one of the world’s most iconic electric guitars. It has featured in a number of landmark exhibitions, appeared on the cover of countless guitar magazines, and has been played by the likes of Johnny Marr and Joe Bonamassa. Since 2004, Fender has created and sold replica models of the guitar as part of their artist signature series.
Claire Tole-Moir, Head of Bonhams Popular Culture department, commented: “Rory Gallagher’s 1961 Fender Stratocaster is one of the world’s most recognisable guitars. It was an enormous part of Rory Gallagher’s life and was with him from the very start of his career right until the end. It could be said that it was on this guitar that he carved out his legacy of being one of the greatest guitarists of all time. It has been treasured by Dónal Gallagher, Rory’s brother and former manager, and the Gallagher family ever since Rory’s passing in 1995. Bonhams is honoured to be entrusted with bringing this iconic Stratocaster to auction and is excited to announce the landmark sale of Rory Gallagher’s extensive collection.”
Dónal Gallagher, Rory’s brother and former manager, commented: “After nearly thirty years since my brother Rory’s passing, I now believe it’s time for other people to cherish Rory’s ‘orphaned’ 1961 Fender Stratocaster and the rest of his incredible instrumentcollection. Since 1995, I have always felt that there was a mission to be fulfilled to cement Rory’s legacy and widen the knowledge of his music. So, in what is one of the most difficult and sensitive decisions to reach, I have decided to facilitate the release of his instruments for sale, so that these emblems of his legacy can be enjoyed by others.”
Speaking of Rory Gallagher’s Stratocaster Sir Brian May commented, “He was one of a very few people at that time, who could make his guitar do anything it seemed, it just seemed to be magic…I remember looking at this battered Stratocaster and thinking “how does that come out of there?”. Brian May has also said that “One of the reasons I do what I do is because of Rory.”
Steinberg has released X-Stream, a monophonic spectral synthesizer with which you can create completely new sounds, or compose exciting ambient music, and it’s completely free!
For those who work with film scoring or have Peter Gabriel and Kate Bush, or similar artists as role models, the free plug-in X-Stream is truly a godsend. An incredibly powerful tool for audio creators!
Steinberg themselves claim that X-Stream for HALion can handle samples, or audio clips, and turn these into a “colorful spectrum of sounds”, by time-stretching, looping and manipulating the sounds in a completely new way.
X-Stream can twist and turn, slow down or speed up sounds and thus transform any samples with the help of both new and innovative “spectral algorithms” and other effects.
X-Stream contains more than 100 presets.
X-Stream is a new tool for sound design, but it can also create interesting rhythms and beats. Through its ability to create strange pads or “drones” for ambient music, X-Stream also works excellently for those who compose film scores and the like. And all this is absolutely free!
X-Stream contains lots of exciting ready-made factory sounds, but above all, you can also load your own audio files – anything – one-shots, or entire soundtracks. Your imagination sets the limit.
Download it!
You can download X-Stream for free by going to the Steinberg website and logging in, or creating a new account, and downloading the Steinberg Download Assistant. Keep in mind that you need some version of HALion 7.1 to be able to run X-Stream. The free version of HALion Sonic 7.1 works great, so be sure to download that as well, on the same time, if you don’t already have it.
For those interested in the full version of HALion 7.1, you can buy it at half price until the end of July 2024.
You’ll need Steinberg Download Assistant to download X-Stream and HALion Sonic 7.1
Important functions
Works with all versions of HALion 7.1 in a variety of DAW programs
Contains more than 100 ready-made factory presets from sound creators around the world
Drag-and-drop your samples and let X-Stream transform them into mighty floating soundscapes
Create abstract “drones” and effects for film and computer music, or innovative electronic ditto
Peter O Ekberg är något så unikt som en gitarrist med ett eget uttryck. Jag bjöd in honom på besök och imponerades av det jag fick höra – både från hans fingrar och läppar.
När jag först hörde Peter var det på några olika plattor i slutet av 70-talet. Han dök även upp på inspelningar med både Dan Hylanders Raj Montana Band, och senare Boogie Kings – vilka jag hade lyckan att få se live i Stockholm. Peter har även spelat med Tommy Körberg, Mats Ronander, Louise Hoffsten, Floyd Moore, Eric Johnson, Thorleifs och många fler. Som producent har han jobbat med ytterligare några av de mest namnkunniga i Sverige – och några från andra sidan det stora vattnet. Det var också där Peter fick sina första kontakter med musik i den högre skolan. Men låt oss börja från början…
Peter Olof Ekberg
Peter föddes 1953 i Åryd utanför Växjö, där han också växte upp, och så småningom bildade sitt första band. Vid den blygsamma åldern 15 år blev han ”headhuntad” av the Germs från Växjö, och med detta band deltog han i Sveriges Radios popbandstävling Opp-o-poppa på Liseberg i Göteborg 1968 – då som basist. Det lär ha varit en hemsk upplevelse, enligt Ekberg.
Han var fortfarande i första hand basist när han ett par år senare åkte över till USA som utbytesstudent.
– En kväll i Austin hamnade jag på en bar där ett jävligt bra lokalt band spelade, Custer’s Last Band. Och jag satte mig vid ett bord med två snygga tjejer, som jag pratade med. När bandet tog paus kom trummisen och keyboardisten och satte sig vid vårt bord. Det var deras flickvänner jag pratat med, och alla var supertrevliga. Trummisen, Bill Gossen, blev sedermera min bästa vän. Vi satt och pratade, och han var genuint nyfiken. ”Jaså, spelar du”, sa han. ”Vill du sitta in?”
”Hela den här tanken med plattan sprang ju ur en ensamhet.”
En av låtarna som Bill nämnde var The Nazz Are Blue (en Yardbirds-hit, med Jeff Beck på sång), och den kunde Peter, så han hoppade upp på scenen och spelade med bandet.
– Bill skjutsade mig hem på kvällen, och kom och hämtade mig dagen därpå, för att visa mig Austin. Och det växte till en väldigt djup vänskap, som varade ända tills Bill dog i cancer för några år sedan. Bills vänskap blev min biljett in i Austin, och hans kontaktnät blev också mitt musikaliska, för han var en etablerad musiker och låtskrivare i Austin.
– Det var där jag fick riktigt blodad tand för musiken.
70- och 80-talet
Tillbaka i Sverige fick hans grupp Attila skivkontrakt. Man skickade demo till fem skivbolag, och fick ja från fyra. Peter valde Polydor. Det blev fyra soloplattor och en massa turnerande. Han producerade också Raj Montana och Rockamöllan. Han flyttade till Stockholm 1977, och där blev det mer producerande. Hösten 1982 vill Anders Burman att han ska ta över producerandet efter honom på EMI. Peter nappar förstås.
– Efter det fick jag smak på att göra musik utan att behöva sitta i en turnébuss. Sökte mig till andra kulturuttryck. Var nästan tio år på SVT i Stockholm och NRK i Oslo.
Han blev sedan kulturskolechef och rektor på mediaskolan i Karlskrona. Nu är han kulturchef i Piteå.
Nya plattan
Jag bjuder kulturchefen på en liten pastalunch och han fortsätter berättelsen. Ensam i Norrbotten finner sig Peter i ett nytt dilemma.
– Jag hade ju knappt gjort en låt på 35 år, så jag ville ju se om jag fortfarande kunde.
Han hade Cubase 7 och ett bra UAD-ljudkort och började skriva lite låtar. Först stapplande… Men det blev alltmer lustfyllt. Han hade ju all tid i världen. Men efter ett halvår började han fundera på om det höll. Han trodde att det fanns en risk att det höll på att bli ett dammigt gubbprojekt. Han kontaktade två oberoende producenter som han kände (Ulf Börjesson och Johan Dereborn), och frågade vad de tyckte. Det var tyst ett tag, sedan sa den ene att det var hur fräckt som helst. Den andre hade samma åsikt.
– Hela den här tanken med plattan sprang ju ur en ensamhet. Och i en av låtarna, Just Lonely, sjunger jag ”north pole lonesome”, så NP Lonesome blev mitt alias. Och plattan döpte jag till The Blue Accordingly för att reta de här bluespuritanerna.
Det tog ungefär ett år att bli färdig. När han sedan la upp det kom en reaktion som han blev oerhört förvånad över. Det kom både telefonsamtal och privata mejl.
– För mig var det verkligen en stor gåva att jag tog mig igenom plattan. Det är en så stor känsla i att återupptäcka något som du trodde var förlorat. ”Fan, jag har detta kvar. Tack, det funkar!” Det går inte att beskriva hur otroligt skönt det kändes när det började komma respons på det här. Jag förstod att det inte var enbart artighet, utan folk var genuint överraskade. ”Fan, va bra han har fått till det här”, liksom.
– Sången är nästan uteslutande en första eller andratagning. Att stå och skråla med lurar i en lägenhet, och plötsligt höra hur de börjar röra sig i våningen ovanför, blir oerhört stressande.
– Det är några grejer som jag skulle vilja ha gjort om, men jag beslöt mig för att göra så här. Och likadant med gitarrspelandet, men där var det mer för att jag märkte att inte blev bättre ju längre jag höll på.
Producenten Uffe Börjesson började komma med förslag. ”Du måste ha en riktig trummis…” så Bengan Andersson från Skara kontaktades och spelade in de förträffliga trummorna i sin studio.
– Sen kom jag på att jag behövde körer och kontaktade Sharon Dyall, Jenny Fall och Lena Malmborg och de ställde gladeligen upp. Sen har det kommit in lite annat folk.
– Jag lirar bas, alla gitarrer, percussion och en del trummor och keyboard. Men allt som behövde komma upp ett snäpp professionellt såg jag till att åtgärda – och det är Uffes förtjänst. Det som från början var en bra ensam-vargs-grej blev på så sätt mycket bättre.
– En av hemligheterna med att det funkade var att här fanns inget tydligt syfte. Musiken i sig var det enda syftet, låt, för låt, för låt…
– Det fanns ingen tidsram, det fanns igen budget, och det fanns heller ingen beställare – mer än att jag ville se vart det kunde leda.
Hur undvek Peter heminspelningsfällan, där låtarna aldrig blir klara, där det ständigt finns något nytt att lägga till eller göra om?
– Jag var precis i kanten av det – då hade det gott nästan ett år – och jag visste att om jag börjar göra om, då faller hela projektet.
– Jag var precis på väg, men då var det bland annat Uffe Börjesson som sa: ”Du är färdig nu.” Så jag tänkte: detta får duga.
Uffe åtog sig att mastra plattan, och eftersom Peter ville lägga upp musiken på alla tänkbara media, hittade han hjälp även där.
– Jag ringde Örjan Englund på Eagle Records och berättade kort för honom vad det gällde, och han sa ja, på direkten.
Efter tre veckor låg albumet uppe world-wide och sen tog det bara ett dygn så var hela karusellen igång. På första månaden hade Peter fyratusen streamingar. Det var han nöjd med.
– Utan hemmainspelningarna hade detta aldrig blivit gjort.
Utrustning
Peter använde Cubase 7 och ett UAD-ljudkort (okänd modell). Sången tog han upp med en Peluso 2247-mikrofon, som han är väldigt nöjd med.
Keyboarden är till största delen hämtade ur NI Kontakt 5 – han har också använt en del av Easy Drummers percussion-ljud, plus en del från Kontakt.
– Fendergitarren har två vanliga Custom Shop-mickar i hals och mitt, och en Dimarzio HS2 i stalläget. Sen har jag även en Suhr med två single-coil och en humbucker. Den använder jag en hel del på plattan.
– Strängarna är D’Addario XL – 0.9 till .46 – det har jag alltid kört. Tidigare hade jag samma set från Ernie Ball.
– Gitarren går genom en Fender Deluxe, eller en Mad Professor CS40, och ett gäng pedaler. Nästan aldrig rätt in i förstärkaren… Sen har jag använt S-Gear-pluggen från Scuffham Amps.
– Jag har också använt en Chandler UAD-plugg till ett par solon. När man skruvar till den så rören glöder, låter den väldigt speciellt.
Pedalbordet innehåller det som syns på bilden, men sedan vi träffades har ett par-tre pedaler bytts ut. Det är ett projekt i ständig förvandling. Om favoritpedalen berättar Peter:
– Det är en handgjord Björn Juhl Honey Bee. Svindyr, och den är så varm. Jag har alltid den först. Det finns inget som låter pedal över den.
– När jag har mickat upp förstärkaren har jag använt en Shure SM-57. På det hela taget väldigt vanliga grejer, alltså. Sen har jag ju ett gäng fina gamla UAD-pluggar… kompressorer, reverb…
– Sen spelar det ju ingen roll om du har bra eller dålig utrustning, om du inte har en bra låt till att börja med. Man glömmer ofta det…
Supro tremo-verb
Peter hade förstås med sin Custom Shop Stratocaster, som fick träffa de enklare kusinerna från landet, mina ihopskruvade monster. Det är klart att det blev en del spelande – och detta redan innan jag visade Peter Supro-förstärkaren som jag hade hemma för MM-test. Då blev herr Ekberg riktigt intresserad och sprang genast ut till bilen och hämtade in pedalbordet.
”Bluesen har blivit kidnappad av en sorts medelålders, vita medelklassmän…”
Peter spelar och berättar samtidigt om instrumentallåten på nya plattan som han vaknade upp en söndagsmorgon och hade drömt, Notes From The Neighborhood. Mer än en aning 70-talsdansbandsaktig i tonen, och jag bara älskar den!
Och Peter blir förstås förtjust i Supron.
– Fasen, va bra den låter! Den skulle jag vilja ha med mig när jag ger mig ut och spelar på bluesfestivalerna i vinter…
– Låter otroligt bra! Får jag skruva på lite och se hur den beter sig?
Vad säger man då… Självklart! Och han skruvar på ordentligt.
– Ja, det var fan du! Du får ursäkta, men jag vill se var gränsen går. Den verkar ju orka…
Det slutar med att Peter senare beställer ett par olika Supro-förstärkare, och de ingår nu i hans live-arsenal.
Peters spel och preferenser
Jag passar på att berömma Peter för hans ett eget tonspråk, där han rör sig runt den traditionella pentaskalan, och där han verkligen vågar dra iväg i sina improvisationer.
Var kommer inspirationen ifrån?
– Det kommer nog ifrån att jag ofta varit sångare också. Jag blev rätt trött på Chicken Shack och liknande band, och sökte mig andra vägar.
– Beck var ju spännande. Han var ju inte den där identiska pentaskalan, som alla spelade runt. Det fanns även andra… Peter Green var ju en stor, stor hjälte för mig. När jag första gången hörde Blues Jam i Chicago, första låten, Watch Out… Det var ju nåt helt makalöst, med allt från tajming till tonalitet. Men det fanns andra… Amos Garret var en ögonöppnare när han var med i Paul Butterfield Blues Band. ”Oj, man kan spela en durters i bluesen!” Det gjorde ju även Beck, för den delen. Men det hör man aldrig från de andra…
– Nån sa att jag lät som Jeff Beck när jag spelar, men de vill jag inte gå med på. Jag är kanske inspirerad av Beck, men jag låter inte som honom.
– Jag har aldrig kunnat sitta med en grammofon och planka solon, jag har fått lära mig på annat sätt. Så det har aldrig varit en som varit husgud, utan det har varit en jäkla massa olika som inspirerat mig, och så har jag plockat ur mitt eget huvud.
– Boogie Kings var en rolig grej… Vi spelade nån sorts punk-blues. Vi älskade blues, men vi brydde oss inte om att vara traditionella. Vi insåg att vi måste utgå från vår egen bakgrund. Där ligger skillnaden. Energin, och att vi sket i traditionen.
– Och vi hade Backa-Hans och Ingemar Dunker i kompet. Publiken kunde bara, rent fysiskt, luta sig mot den stommen. Det gick inte att göra bort sig där. Du kunde lira i en annan tonart, och det hade varit rätt ändå.
Bluesen har blivit kidnappad
– Jag har fått en sorts bluesnojja nu. Bluesen har blivit kidnappad av en sorts medelålders, vita medelklassmän, som inte förstår vare sig bluesens ursprung, grundtanke, eller det här med blod, svett och tårar – missförstå mig rätt …
– Det är ju så historielöst. Det blir outhärdligt att lyssna på, om man inte har någon sorts förankring i rötterna. Lyssna på de här triolshufflandet till höger och vänster: I woke up this morning. Om man sen lyssnar på originalen – vad bluesen stod för, och fortfarande står för – så är det en kraft, och svett och berättelser, men det är också en utveckling.
– Ta alla pianister, gitarrister, munspelare och vad du vill. Inte fan lät alla lika. Alla hade sin egen ton. Alla utvecklade sin egen ton. Det var det som var hela grejen. Men idag är det precis som att man absolut inte ska göra det, för då är det inte blues.
– Fy fan, vad jag gnäller. Det är inte alls meningen. Jag är en väldigt positiv människa i grund och botten.
Framtiden
Peter berättar att han tänker göra ytterligare ett album, ett bluesalbum, och det kommer inte vara puritanskt! Det ska bygga på bluesens fundament, men sen är det helt utifrån honom och de han omger sig med.
– För mig, när jag gör de låtar som har tydlig bluesbotten, spelar jag utifrån så som jag spelar. Jag vill spela vitt, och utifrån mig. Jag har andra referensramar, en annan historik, en annan bakgrund. Jag kan inte härma någon som ska berätta om bomullsfältens jävlighet, och industrialismens förtryck. Det blir falskt om jag försöker göra det, och det blir definitivt inte en hyllning. Det blir bara patetiskt.
Sen blir det en lång diskussion om Peters spelstil. Vi är inte riktigt överens i allt, men jag hävdar att han på något sätt behållit sin ton och sitt uttryck i gitarrspelet hela tiden. Man hör att det är Peter O Ekberg.
Tills slut har det blivit över fyra timmars samtal – jag vill inte kalla det en intervju – som jag har att lyssna igenom.
– Fy fan, va du kommer att vara trött på mig, säger Peter.
Med de orden skiljs vi åt. Men tröttna lär jag inte göra i första taget, och det finns ju alltid ett album att bryta av med, om samtalet skulle börja kännas tungt. The Blue Accordingly med NP Lonesome aka Peter O Ekberg. Tretton egna låtar. En ren njutning!
Jag tar för givet att ni redan lyssnat på den. Och har ni inte det finns den både på Spotify, och iTunes om ni vill ladda ner den. Jag vågar påstå att detta är den viktigaste plattan som släppts i år. För den som älskar modern, fräck, bluesbaserad, skitig, skrämmande, upplyftande rockmusik är den ett måste. Här finns allt. Sällan har en sångplatta varit så fullspäckad med underbara gitarrinslag, stökiga riff, och spretiga solon. Helt underbart! Jag har inte njutit av en platta så fullt ut, sedan jag hörde Jeff Becks insatser på Amused To Deathmed Roger Waters. Fast Peter O Ekberg gör nästan allt på egen hand – jag är djupt imponerad. Mina personliga favoriter: ovanstående instrumentallåt, Blue Me X, och So Happy For You. Ja, och så alla de andra låtarna förstås…
After Musikermagasinet’s (AKA MM) closure in February this year, it felt like there was a big void in my life – perhaps this was the case for many of MM’s faithful readers as well.
To remedy this to some extent, I have decided to post some reviews on this website in the future. Hopefully it will be able to lighten up the gray everyday life for more people than me.
I will also try to be a little more diligent about posting small YouTube videos on things I find interesting. There will also be shorter tips on plugs or instruments that I think stand out in one way or another. It can be extra affordable products – or things that I simply just think are excellent in one way or the other. Something that, with my 35 years of experience in hardware and software testing, I also believe may interest some of you who for one reason or another managed to find your way here.
See you later!
Programförklaring
Efter Musikermagasinets nedläggning i februari i år kändes det som att det uppstod ett stort hål i min tillvaro – kanske även hos många av MM:s trogna läsare.
För att i viss mån råda bot på detta har jag beslutat mig för att lägga upp några tester på den här hemsidan i fortsättningen. Förhoppningsvis ska det kunna lätta upp den grå vardagen för fler än mig.
Jag ska även försöka var lite mer flitig med att lägga upp små YouTube-filmer på sånt jag finner intressant. Det kommer också finnas kortare tips på pluggar eller instrument som jag tycker sticker ut på ett eller annat sätt. Det kan röra sig om extra prisvärda produkter – eller sånt jag helt enkelt bara tycker är väldigt bra. Sånt som jag med mina 35 års erfarenheter av hård- och mjukvarutestande även tror kan intressera några av er som av en eller annan anledning lyckats hitta hit.
The “Happy New Year” that we all wished for each other may not have started too well. The wars around the world continue with unabated frenzy. Man’s cruelty is apparently infinite – as is his stupidity, if you ask Einstein. We are helping each other to destroy the only habitable planet we know, and we are being led by politicians who are totally incapable of making the important but uncomfortable decisions needed to reverse this trend.
Like a small bacon in this sea of woe and misery, Musikermagasinet has stood out – at least for those of us who see music as a healing and unifying force. After all, music is a language that can be understood in all the countries of the world, regardless of the spoken language you otherwise use.
Churchill is known to have said something along the lines of: If we cannot defend ourselves to preserve art and culture (where music belongs to the highest degree) then what do we have to fight for?
He also said: “It would mean a thorough political reform if common sense could spread as quickly as stupidity.”
It is perhaps this paradigm shift we have all been waiting for.
It may sound a bit presumptuous to compare oneself to such a giant as Sir Winston, but for those of us who have worked with this magazine, which has existed in one form or another since the end of the 70s, it has had enormous significance. Judging by all the appreciation we’ve received from our readers over the years, I think we’ve been, at least once in a while, quite right.
However, everything comes to an end, and unfortunately that also applies to those who make magazines.
We have just completed the very last issue of MM. I myself have written for the mag for over 35 years, and several of my colleagues have struggled for almost as long. Our responsible publisher, and founder of the magazine, Björn Hansen, has of course fought the longest of them all. But now it’s over.
Almost all advertisers have recently failed us – but there are exceptions; many thanks to Toontrack, EBS, Lundgren Pickups and a few more! I don’t want to sound bitter, but it feels like too many companies believe that the polished surface, represented by so-called influencers, who only reside in a completely digital world, is more important and can give musicians more, than well-founded hands-on tests from active musician colleagues can do.
The entire music industry is of course having a rough time, but without advertising revenue it is not possible to make a magazine. If at the same time you are opposed by forces that do not value culture very highly, it becomes really tough.
All this entailed the end of Musikermagasinet’s more than 30-year old history.
So surely the new year really could have started better.
