We are now at a moment in history when our access to information is 24/7. Although I don't think this is always a good thing. Our culture doesn't often reward behavior that focuses on slowing things down, though I think this is exactly what needs to happen to lower stress levels. Whether you are singing into a microphone, plucking the strings of a guitar with your fingers, or stomping on a bass drum pedal with your foot, you will see the difference in your stress levels once you start playing a musical instrument. According to Science of People “...casual music-making can short-circuit the stress response system and keep it from recurring or becoming chronic.” Beyond the physical aspects of playing an instrument, there are also the mental aspects to consider. I had a friend who was a psychologist whose job was incredibly stressful. She worked at a practice that was understaffed, increasing the demands on her time, and often leading to multiple double shifts per week. Looking for ways to reduce stress I suggested she take piano lessons. Like most people she initially felt she didn't have the time. I told her that everybody has the time to improve the quality of their life!  From my experience deep breathing was only one way to lower stress. If you have ever been to the gym you will know what I'm talking about. It is easy to feel the difference in your stress levels after a rigorous physical workout. Playing the drums uses muscles in your legs, arms, hands, wrists, back, and shoulders. It is literally hitting wood (drumsticks) against synthetic plastic (drum skins) and metal (cymbals). This is a tremendous way to relieve stress!  Initially, I was doing these exercises to become a better singer. In a short amount of time, I realized how this was positively affecting my mental health. From then on I began my daily practice session with this breathing exercise to calm my mind.  Something happened that was unintentionally life-changing on my first singing lesson. The singing teacher said “I want you to take a very large breath in and fill your lungs with air. Then gradually let the air out through your mouth making an 's' sound similar to a snake.” As soon as I did this everything slowed down. I realized many of us go through the whole day without doing any real deep breathing. Instantly I felt calm and less stressed out. I was determined to learn how to sing backing vocals to increase my value as a musician. Although I felt I had a decent voice, I had a previous negative experience that derailed my confidence. When I was a teenager I was singing in my bedroom. My older brother who was also a musician gently knocked on my door. He said “Was that you singing?” I said “Yes!” eagerly awaiting a compliment. Then he said “Oh, I thought someone was drowning a cat in here.” Needless to say, I was a little self-conscious of my voice after that. The drums and my self-esteem both took a good beating at those auditions. Instead of wondering why I wasn't getting those bookings, I simply asked the bandleader. He quite casually told me it was because the other drummer sings backing vocals. He then explained that when a band goes on tour, it would save the record company money if they hire musicians who could sing. This meant they wouldn't have to hire separate backing singers. Using this system, a lot of money was saved on fees, plane tickets, and hotel rooms. When I was just starting my career as a musician, I remember auditioning for a lot of bands. I would learn the drum parts meticulously so they would sound exactly like the tape (I'm an old guy, we didn't have MP3s back in the day). There was a period where I saw another drummer at every audition I attended. I would listen to him play outside in the waiting room. Although stylistically we sounded very similar, nine times out of ten he got the gig.Within weeks of learning the piano, she told me she could see the difference in her stress levels. Having to focus on even the simplest exercise like a C major scale, allowed her to be fully present in that moment in time. When this practice occurs it is virtually impossible to be overwhelmed by your problems because your focus is on what music you are making. According to The American Psychological Association "...hormones that create stress are reduced by playing music."

CAN YOU IMAGINE LIVING YOUR LIFE WITHOUT MUSIC? IT WOULD BE VERY HARD TO DO SO, AS MUSIC HAS BEEN HARD-WIRED INTO OUR VERY EXISTENCE AS HUMAN BEINGS. THE CHINESE PHILOSOPHER CONFUCIUS SAID LONG AGO THAT "MUSIC PRODUCES A KIND OF PLEASURE WHICH HUMAN NATURE CANNOT DO WITHOUT." PLAYING A MUSICAL INSTRUMENT HAS MANY BENEFITS AND CAN BRING JOY TO YOU AND TO EVERYONE AROUND YOU. THIS ARTICLE WILL PROVIDE YOU WITH 18 BENEFITS OF PLAYING AN INSTRUMENT (IN NO PARTICULAR ORDER) AND WILL HOPEFULLY GIVE YOU A BETTER SENSE OF APPRECIATION AND PRIDE FOR MUSIC. The Benefits1. Increases the capacity of your memory. Research has shown that both listening to music and playing a musical instrument stimulate your brain and can increase your memory. A study was done in which 22 children from age 3 to 4 and a half years old were given either singing lessons or keyboard lessons. A control group of 15 children received no music lessons at all. Both groups participated in the same preschool activities. The results showed that preschoolers who had weekly keyboard lessons improved their spatial-temporal skills 34 percent more than the other children. Not only that, but researchers said that the effect lasted long-term. According to an article from The Telegraph online magazine, "New research suggests that regularly playing an instrument changes the shape and power of the brain and may be used in therapy to improve cognitive skills." There is continually more evidence that musicians have organizationally and functionally different brains compared to non-musicians, especially in the areas of the brain used in processing and playing music. If you learn how to play an instrument, the parts of your brain that control motor skills (ex: using your hands, running, swimming, balancing, etc.), hearing, storing audio information, and memory actually grow and become more active. Other results show that playing an instrument can help your IQ increase by seven points. 2. Refines your time management and organizational skills. Learning how to play an instrument requires you to really learn how to be organized and to manage your time wisely. A good musician knows that the quality of practice time is more valuable than the quantity. In order for a musician to progress quicker, he/she will learn how to organize his/her practice time and plan different challenges to work on, making efficient use of time. 3. Boosts your team skills.Team skills are a very important aspect of being successful in life. Playing an instrument requires you to work with others to make music. In band and orchestra settings you must learn how to cooperate with the people around you. Also, in order for a group to make beautiful music, each player and section must learn how to listen to each other and play together. 4. Teaches you perseverance.Learning to play an instrument takes time and effort, which really teaches you patience and perseverance. Most people can't play every piece of music perfectly the first time. In fact, the majority of musicians have to work difficult sections of music multiple times in a row before they can play it correctly. 5. Enhances your coordination.The art of playing an instrument requires a lot of hand-eye coordination. By reading musical notes on a page, your brain subconsciously must convert that note into specific motor patterns while also adding breathing and rhythm to the mix. 6. Betters your mathematical ability. Reading music requires counting notes and rhythms and can help your math skills. Also, learning music theory includes many mathematical aspects. Studies have shown that students who play instruments or study the arts are often better in math and achieve higher grades in school than students who don't. 7. Improves your reading and comprehension skills. According to a study published in the journal Psychology of Music, "Children exposed to a multi-year program of music tuition involving training in increasingly complex rhythmic, tonal, and practical skills display superior cognitive performance in reading skills compared with their non-musically trained peers." It's not surprising to hear results like that because music involves constant reading and comprehension. When you see black and white notes on a page, you have to recognize what the note name is and translate it to a finger/slide position. At the same time, you also have to read what rhythms the notes are arranged in and force your tongue to produce the correct pattern. 8. Increases your responsibility. Playing an instrument comes with its responsibilities. Maintenance and care are very important in keeping an instrument in working condition. Each instrument has different procedures to keep in functioning properly, but most instruments need cleaning and some form of oiling/greasing. In addition to maintenance responsibilities, there are other aspects such as remembering music events (like rehearsals and performances) and making time to practice. 9. Exposes you to cultural history. Often times music reflects the environment and times of its creation. Therefore, you learn a variety of music types such as classical traditions, folk music, medieval, and other genres. Music itself is history, and each piece usually has its own background and storyline that can further your appreciation of other cultures. 10. Sharpens your concentration. Playing music by yourself requires you to concentrate on things like pitch, rhythm, tempo, note duration, and quality of sound. Playing music in a group involves even more concentration because you must learn to not only hear yourself, but you must listen to all the other sections and play in harmony with the rest of the group. 11. Fosters your self-expression and relieves stress. It's your instrument, so you can play whatever you want on it! The more advanced you become on an instrument, the greater you'll be able to play what you want and how you want. Music is an art--just like an artist can paint his/her emotions onto a canvas, so can a musician play a piece with emotion. This has proven to relieve stress and can be a great form of therapy. In fact, music therapy has been useful in treating children and teens with autism, depression, and other disorders. 12. Creates a sense of achievement. Overcoming musical challenges that you thought you'd never quite master can give you a great sense of pride about yourself. When you first start learning how to play an instrument, it seems like just holding out a note for a couple beats or hitting a high pitch is an amazing accomplishment. As you practice and become a more experienced musician, making beautiful sounding music pleasing not only to your ear, but others as well is a very rewarding experience. 13. Promotes your social skills. Playing an instrument can be a great way to enhance your social skills. Some of the best people join bands and orchestras, and many times the friends you make here become like family. It's very common for people to gain lifelong friendships through musical activities like these. 14. Boosts your listening skills. Although it's pretty obvious, playing an instrument requires you to listen very carefully to things. You have to learn how to hear when you're playing a wrong note in order to correct yourself. Tuning your instrument means hearing if the pitch you're playing is high (sharp) or low (flat). When playing in an ensemble, you have to listen for the melody and play softer if you're the supporting part (accompaniment). There are too many examples to list every possibility here, but by playing an instrument you are guaranteed to improve your listening skills. 15. Teaches you discipline. As previously mentioned, playing an instrument can be very challenging. One of the qualities that musicians learn is discipline. Practicing often and working on the hard parts of music and not just the easy and fun stuff requires discipline. The best musicians in the world are masters of discipline which is why they are so successful on their instrument. 16. Elevates your performance skills and reduces stage fright. One of the goals of practicing so much on your instrument is so that you can perform for others. The more you get up in front of people and perform, the more you'll reduce any stage fright. Playing on stage in a band or orchestra helps with stage fright because you're not alone. Also, being prepared and really knowing how to play your part makes it much easier to get up and play for a crowd. 17. Enhances your respiratory system. If you have a good music director/tutor, you should hear them tell you quite often to "use more air!" Air is one of the key components in making wonderful-sounding music. In order to play any piece of music correctly when playing an instrument, you'll need to take huge breaths and learn how to expel the air properly to make the desired sound. Breathing exercises are highly recommended for musicians, and they can really strengthen your respiratory system. 18. Promotes happiness in your life and those around you. Playing a musical instrument can be very fun and exciting. Not only is it fun to play music that you enjoy, but it feels wonderful to hear an audience applaud you for giving a great performance. It can also be very honorable and gratifying to voluntarily play in your local community and see the happiness on people's faces because they enjoy watching you play. ConclusionAs you can see, playing a musical instrument has many benefits and hopefully that will motivate you to keep on practicing and always hold music in high esteem. Whenever you come across challenges as a musician, think about the end results and always remind yourself of all the great reasons you love to play. I'll leave you with an inspiring quote by jazz saxophonist and composer Charlie Parker who once said, "Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn."

Consider restructuring your practice routine to make the most efficient use of available time. Here are five tips to help create your own personalized practice plan!   1. Make a Plan  Ask yourself the following questions:   What are your long-term goals? What are your short-term goals? What do you want to  accomplish each day? How do these goals align with your available time? What are some of your  greatest strengths already? In which areas of music do you want to improve in general?    Discuss and develop these objectives together with your teacher. Write them down, map them out  on the calendar, and create a timeline. Share your motivations for pursuing these goals with your teacher, too. They might have some more ideas that will help! 2. Listen Actively Be mindful and curious while you practice. If something didn’t work the way you expected, stop and try to determine why, and how you can fix it. Go back and make these adjustments  before moving on.  Don’t rush. Work slowly to solidify good intonation and technique. When we practice too fast  or without focus, we can fall into the trap of reinforcing bad habits.  Audio and video record yourself. Recording your own playing is one of the best tools to  promote focus and active listening.   Use technology effectively. The technology available to us today is very beneficial. Metronome  and tuner apps are available for free, and YouTube is filled with instructional videos and  professional performances we can access instantly. Yet, with all of these benefits comes the risk  of becoming distracted by text messages, social media, and funny cat compilation videos. Turn  your notifications on silent while practicing. 3. Set Time Limits When there is only a limited amount of time to complete a task, we are often more efficient in  completing that task. Two popular techniques for short bursts of concentrated practice using time  limits are the “Pomodoro Technique” and the “Random Practice Schedule.”  The Pomodoro Technique  Developed by Francesco Cirillo, The Pomodoro Technique is used in many different fields of  study and business. As applied to instrumental practice, this technique suggests scheduling planned breaks between longer periods of completely focused and uninterrupted work. To illustrate:   2+ hour practice session. Practice goals: Scales, Etude, Sonata 25 minutes: Scales 5 minutes: Break 25 minutes: Etude 5 minutes: Break 25 minutes: Sonata 5 minutes: Break 25 minutes: Sonata 35 minutes: Longer Break This practicing method also helps you keep track of how many sessions are needed to finish  working on one piece or etude. The times and frequency are adjustable according to your needs.  Random Practice Schedule   With the random practice schedule, you are breaking down your practice into very short segments and rotating among them. At first, this strategy might feel a bit fast-paced, but it is an excellent way to keep the brain active and constantly engaged. This practicing method is particularly helpful when preparing for orchestral auditions. When playing excerpts, you will need to switch from one composer, playing style, and musical era to another very quickly. This technique works best when you plan ahead. Determine which exercises and excerpts you would like to isolate and develop in one session. The times and repetitions are always adjustable to fit your needs. For further reading on the random practice schedule, see this article in the Strad. 4. Practice Performing  Don’t forget to practice performing your repertoire! Learning how to play through a piece in its  entirety (without stopping) is essential. In the practice room, we often stop and fix a spot where  we had a mistake or a memory slip. During a concert, however, this won’t be possible.   Set aside time in your schedule each day (or at least each week) to practice performing. Ask a  friend or family member to listen to you play through a piece. If you don’t feel ready for this yet,  turn on the recorder and play as if this is a concert.    If you are preparing for a recital or audition, set aside time to play through all the pieces together. You don’t want the first time you play through everything together to be at the recital itself!  5. Practice Without Your Instrument  Believe it or not, some of the most effective practice can be done without your instrument! After recording your playing, listen and take notes for your next practice session. This can help you isolate and concentrate on the areas which need the most work.   Sing or hum the music to discover the most natural ways of phrasing a melody.    Study the score. What did the composer want to convey with this music? What is the harmonic structure? If you are playing in an ensemble, learn how your part fits into the overall structure of the piece. Who has the melody and when? Do you ever play the same rhythm or share a line with another instrument?    Watch and listen to recordings of other musicians. Try following along with the score and  understand how they are interpreting the music.   Effective practicing is a skill that might take time to master, but it can make all the difference in your playing. Experiment with different techniques and discover what works best for you!

My experience with recording various woodwinds at home during the pandemic was full of trial and error. Check out these 6 tips and tricks I learned to help your woodwind recordings sound more professional! 1. Have a Couple of ‘Perfect’ Reeds As always, make sure you have a few reeds that are perfectly worn-in, like your favorite pair of blue jeans. This step is arguably more important for recording than it is for live performances because recordings last forever! If you play the flute, double-check that your cork is in correct alignment.2. Consider Different Types of Microphone Weigh the pros and cons of the mics you could potentially record with. Personally, I record with either a condenser mic or a directional woodwind mic. You could also use a (vocal) dynamic mic in a pinch. When buying a directional mic for each individual woodwind that you play, it can get expensive. Oftentimes,  it is often well worth it. Say you have a directional, clip-on clarinet mic. That mic was specifically built to capture the range of the clarinet. Overall, these are your best bet. I have also found that directional mics are also the best at accurately capturing articulations. That being said, the big ‘con’ to this mic is that your accented notes can cause peaks, super easily. This would be a good time to try a condenser mic. However, they seem to sound more floaty, and less punchy… which brings us to the next tip. 3.Try Blending Microphones My most recent discovery when recording woodwinds is blending microphones. Here’s what has worked the best for me, out of all of the options: Record your woodwind with both a condenser mic and directional mic, at the same time. Doing this gives you the best of both worlds when it comes to getting both overtones, and articulations. This idea was suggested to me by guitarist Kevin Smith after I was explaining my woodwind recording conundrum to him – and man does it work well! Once the recording is done, pan each track just a little. This will give your listeners a higher-quality surround sound effect.  4. Adjust Your Mixer, and Sound-Check Three Times One of the mistakes I always make is wanting to record right away. I don’t adjust my mixer or check my levels, I’m just excited to GO! Take it from me: You need to do three sound checks before you get started. Check the following: Soft playingloud playing,legato / lyrical playing. If your soundcheck is loud enough in the quiet and lyrical tests, and articulate without peaking in the loud sections, you are good to go. 5. Watch Your Headphone Cord This may sound silly, but the game really changes when you have dangling cords and a transverse instrument, or a sax with a bell. If you arrange it incorrectly, it can actually flop around, and hit your stand or flute, causing unwanted noises! So, always make sure to put on and adjust your headphones before you pick up your instrument off the stand. 6. A “Grab Bag” of Tips for Recording Specific Woodwinds Recording Clarinet Record a clarinet’s sound above the tone holes in order to get the best quality of sound. If you place the mic too high, you run the risk of peaking and getting too much articulation and not enough of the sustained notes. Recording Saxophone Let’s dive into Simon Barker’s article, Recording Saxophone at Home. According to him, the closer you place the sax to your mic, the better the low frequencies are picked up. Most woodwinds start out being about a foot away from a condenser. But if you want to pick up on those sweet low tones, try getting a little bit closer.  Recording Flute When recording the flute, increase the bass just a bit on your mixer. Be really careful when you are placing a directional head joint mic, as this can pick up on too much air blowing, as well as noisy breaths, and peak at hard articulations. For recording on condenser mics, always make sure the microphone is high than the flute. This is a similar concept to placing the mic over the clarinet’s keys- It improves the overtones that are picked up. In Conclusion… Recording wind instruments at home is always full of challenges, but I hope these tips have helped make your recording process a little bit simpler!

It's over six years since Korg's Kaoss pad — a quietly revolutionary device that liberated untapped performance potential from familiar effects — first appeared. The original model lacked a MIDI input and was rather noisy and easy to overload, hence the demand for a successor. The Kaoss Pad 2 was a welcome step forward in audio quality and also added enhanced synchronisation and MIDI control. If you are wondering what could possibly be still missing from the Kaoss or worthy of refinement, let me present the third incarnation of this hit series — the Kaoss Pad 3. Touch Me The KP3 is a little larger than its immediate predecessor and much of the KP2's colour has been drained away, leaving behind a moody, dark-grey exterior lit by the austere red glow of display and buttons. The central touchpad, beneath which is an 8x8 matrix of red LEDs, is at once practical and visually stunning. Only the backlit rubber buttons feel a little cheap, lacking the positive 'hit me' action that you'd ideally want for restarting loops or tapping in tempo. Kaoss Pads are both tactile and intuitive; consequently the slender manual avoids wordy descriptions of the included effects algorithms, offering only the information needed to get you up and running. Having connected the KP3 to your mixer, CD player or synth and set the input source and connection type appropriately (the latter either 'direct' or via your mixer's send/return buss), you're ready to go. At once, the smooth, responsive surface of the touchpad draws you in, its animated LED matrix following each finger movement as you dynamically transform the current effects patch. When the Hold button is activated, effects continue even when you take your finger away. In such cases, a single LED remains lit on the pad as a useful visual reminder of where you left off. Power is supplied via the usual wall-wart and connectivity is little different from the KP2 except that the dedicated turntable jacks are no more. The KP3 manages just fine with rear-mounted stereo inputs and outputs — both on RCA phono jacks. On the front panel are quarter-inch jack sockets for headphones and microphone, each with their own level controls, and for direct connectivity with your PC or Mac, a USB port carries a copy of the data sent and received via the MIDI ports. Also included in the package is a CD containing USB drivers and an editor program. Sampling The KP3's single greatest advance is its sampling implementation — so that's a good place to start. Where the KP2 had the capacity to hold two six-second samples, the KP3 now deals with samples in musical measures instead. Sampling is in 16 bit 48kHz stereo and up to four simultaneous loops or one-shot samples can be held in memory at once. Korg have made the process as uncomplicated as possible. You hit the Sampling button, at which point the four sample pads flash red and the display shows the number of beats available to record. The beats value may be set to 1, 2, 4, 8 or 16 — but no other intervals are offered. Plus, if you work with extremes of tempo, not all intervals can be selected. The lowest tempo supporting 16 beats is 74bpm — suggesting that the maximum sample time is about 13.2 seconds for each pad. Mostly you never even think about this stuff; all the calculations of loop length and sample time take place under the covers, which is fine by me! Having set your sample length, recording begins as soon as you hit one of the four pads. Incidentally, there's no equivalent of the earlier Kaoss Pads' 'Auto Rec' function which ensured that sampling started on receipt of an audio signal. Having started recording, your loop will fill the maximum number of measures, with progress represented by the successive lighting of each of the eight Program Memory buttons. Once complete, the pad turns orange and looped playback begins immediately. Simply hitting the pad again stops looping and the pad glows green to indicate a loop is present. Each sample pad is assigned a MIDI note. However, the pads do not respond to external note triggering during sampling. This is a pity, since it prevents you from initiating the process precisely, using a sequencer. To obtain a perfect loop, there's nothing for it but to master hitting the rubber pads in time. If you do find your loop isn't bang-on, hit the Shift key combined with the Tap / Range key to realign its start point.To create a one-shot sample instead of a loop, you must end the recording prematurely by pressing the pad before the loop is complete. Having done this, the pad turns red and the sample will be played (in full) each time you trigger it. Korg have covered all the bases pretty well, although I did miss a fast means of wiping sample memory. However, it's not exactly laborious to sample again over the top, should you make a mistake. At any time, you can fade your samples in or out using the dedicated Level slider. Should you require individual level control of each sample, press the Shift key and the relevant sample pad to engage Loop Edit mode. Oddly, the moment you do this, only the sample you have just selected remains audible; the others are silenced until they're selected for editing or you exit from this mode. The level of each sample is set using a bar-graph that materialises on the matrix above each pad. Hit the pad and push your finger along the matrix to set its level — very Star Trek. You'll also notice that the main display changes to indicate 'Shot' if the sample is a one-shot or '0.0' if a loop. This latter figure represents the loop start point and is adjustable in steps of 1/32 of a beat, with a maximum range of plus or minus a whole beat. Loop Edit has one last trick — and it's a corker! Initially, each loop is divided into eight equal slices, represented by illuminated Program Memory buttons. Individual slices may be switched on or off via these buttons, as seen previously on Korg's sampling Electribes. But the results here are very different. With the Electribes, deactivating a slice will silence the loop for the duration of that step. The KP3 simply skips any steps that you turn off, as if snipped neatly out. Therefore, you can dynamically and non-destructively re-order your loop during playback. This technique is also interesting when isolating sections of very short loops as it generates a series of buzzing, 'stuck CD'-type noises. Instant granular synthesis, anyone? And this still isn't all. The Sampling button teams up with the Shift key (how did the other KPs cope without it!) to reveal the exciting world of resampling. When resampling, the KP3 captures its entire audio output, complete with any loops, incoming audio and effects. It's very much like boucing down multitrack audio and, in theory, could be done ad infinitum — leaping from pad to pad, warping your audio with different effect treatments each time. If you are the sort who agonises over the 'cool results to hard effort' ratio, brace yourself for a flush of embarrassment. Card Slot In the past, there was no way to back up your KP samples — they were as ephemeral as a politician's promise. The KP3 breaks this limitation, offering backup courtesy of an onboard SD (Secure Digital) card slot. In common with the earliest sampling Electribe (the ES1), samples don't have names, just two-digit numbers, and a card can hold up to 100 of these (00-99). Similarly, up to 100 WAV or AIFF files can be stored too (with the same naming restrictions) and can be imported, with the limitation that if a sample is too long it will be truncated. And, for general storage purposes, up to 10 'All Data' dumps can be held on each card; the first of these is loaded automatically on power-up. Since loading in a new set takes only a few moments, it might even be something you would do live. Card capacities of between 16MB and 2GB are supported. The Effects There are now 128 programs to choose from, selected via the chunky Program knob. Eight memory locations are provided to store your favourites, along with any Pad Motion recording, pad Hold status and position, plus values for FX Depth and FX Release. When you select a program, the small four-character display offers an abbreviated name for it while a longer version of the name scrolls across the touchpad for good measure. Faster effects selection is achieved by holding down the Shift key then turning the Program knob, which hurtles through the effects in related groups.When you're sending audio directly through the KP3, the FX Depth knob determines the amount of effect. This can be a useful performance tool, ideal for plunging a track into a sea of reverb or an acid bath of distortion! With so much exploring and fiddling to get to grips with, the effects themselves can often seem secondary. The new algorithms are the classiest yet to grace a Kaoss Pad, and with 24-bit convertors, fidelity is top-notch too. There is a greater awareness of tempo than before and some excellent loop and sample manipulation tools are included. The complete list is long: it contains numerous delays, several 'grain shifters', lots of slicers, gates and LFO-based effects plus combinations such as filter with reverb, flanger with delay and so on. There are a couple of nifty equalisers where the pad matrix is used to set the EQ levels, while four 'crossfade' effects offer blending of your samples in combination with filtering or sample-length adjustment. Then there are vocoder algorithms offering the usual means of transforming a voice or other audio input. Plug a microphone into the front-panel jack, set the level, then spout all the profound stuff that vocoders always inspire in us. Finally, perhaps as a throwback from previous Kaoss pads, there are a number of drum patterns and synth noises on board. These aren't my cup of tea, although with resampling and a little ingenuity, there's no reason they can't be transformed into something interesting. FX Release & Pad Motion FX Release is a new parameter added to address a particular shortcoming of earlier models: previously, when you took your finger off the pad, the effect stopped abruptly. Korg have had a stab at fixing this with FX Release. However, it isn't exactly as you might suppose. FX Release is a preset, tempo-based delay that gradually dies away when you break contact with the pad. The decay time is programmed into each effect algorithm but can be adjusted using the ubiquitous Shift key and the Sample Level slider. I initially found it disconcerting when using, say, a subtle reverb, to remove my finger and hear a decidedly unsubtle digital delay kick in. It seems to me that what you'd really want would be a gradual fade-out of the effect, as if turning down FX Depth. Ultimately, the results are better with some effects than others and perhaps most effective when used in the context of an entire mix, DJ-style. If your effect is a delay in the first place, the preset delay is overriden by the current algorithm, sensibly enough. A simpler, yet more welcome enhancement involves the Pad Motion function. This means of recording short finger movements was accessed on the KP2 via a sprung lever. So after capturing your performance, you still had to maintain hold on the lever, to engage the motion. This rather defeats the dream of hands-free tweaking — in fact I often resort to blobs of Blu-Tak to keep mine running. Happily, the KP3 needs no such assistance: to loop your recorded Pad Motion, activate the button and leave it that way until you want it to stop. Even though Pad Motion is fun, there were times when I wanted to record for longer. Fortunately, this is where the KP3's MIDI implementation comes to the rescue.MIDI Becoming increasingly fascinated with Pad Motion and the touchpad's LED animation (I don't get out much), I realised that external MIDI generation could offer even more complex patterns. Thus, I programmed my Sequentix P3 sequencer to generate the appropriate MIDI continuous controllers, then sat back to watch. At first, I generated patterns that ran across the pad sequentially, then diagonally from corner to corner and finally, randomly. All this was done purely for its visual impact, but I found it was a great way to audition the different effects algorithms; it certainly threw up some wild and amazing sounds! The KP3 serves as an effective MIDI controller in its own right, capable of transmitting MIDI data from the touchpad, from the level slider, the FX Depth knob and some, but not all, of the buttons. The touchpad's on/off and hold status may be controlled remotely via MIDI but, unlike the Kaoss Pad 2, the Mute button may not, nor may the individual sample levels. Synchronisation At any time, you can push the Program knob to view or adjust the tempo. Naturally, you can synchronise to external MIDI clock and even transmit clock to other devices, although sample loops run regardless of any MIDI stop commands received.If a program is 'tempo aware', a helpful bpm indicator flashes as a reminder. You can also synchronise using Tap Tempo or the Auto bpm functionality. The latter analyses and attempts to set the tempo according to that of incoming audio. I found Tap Tempo to be pretty reliable but Auto BPM slightly less so, although it coped fairly well when presented with a regular, uncluttered beat. If Auto bpm falters, you can come to its aid with the Tap Tempo button. And to tell the KP3 which beat denotes the beginning of a measure, press Shift then the Tap button at the right moment. Overall, the dance-music bias makes perfect sense given the likely use of the Kaoss Pad by DJs, but there are enough synchronisation options to keep everyone else happy too. Conclusion The Kaoss Pad 3 exudes an air of professionalism and seriousness that should in no way mislead you over the amount of fun it can provide. In the KP3, Korg have delivered sampling (and resampling) that is free of fuss, yet with enough functionality to serve up addictive audio manipulation again and again. The KP3 even strays into the world of the interactive looper, all of which puts it in a different league than its siblings. You can save and restore samples now, and onboard USB connectivity, paired with the bundled editor, ensures that managing samples couldn't be easier. Clearly, user experience has shaped the KP3's functionality and if some of the effects feel a tad gimmicky, there are always plenty of others to try. If you've never yet experienced the joys of Kaoss, I recommend starting with this one. Owners of previous models may be tempted too — I've got both and I'm already making space! That said, my wishlist isn't wholly fulfilled. I'd like a means of controlling the mute function and the levels of each sample via MIDI and I found the 'FX Release' parameter lacking in refinement, although it's a worthy step forward from the abrupt cut-off of previous Kaoss Pads. I confidently predict that the KP3 will go down a storm with DJs — and anyone else searching for an intuitive way to manipulate live audio. The KP3 can serve as a loop construction kit, effects processor, MIDI controller and even a performance instrument in its own right. Highly recommended.

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