Behringer has shared another sneak preview – this time for the POLYKEYS 61 mini MIDI controller. Details are still to come, but it looks like the POLYKEYS 61 will offer 61 mini keys with polyphonic aftertouch, plus a ribbon controller.
Polyphonic aftertouch allows each key to transmit its own pressure information, rather than applying one pressure value to the entire keyboard. That makes it possible to introduce independent modulation to individual notes in a chord, when controlling synthesizers that support polyphonic expression.
The ribbon controller adds another continuous performance dimension, while the large number of faders, knobs, and pads suggests that Behringer is positioning this as an inexpensive control keyboard.
The POLYKEYS 61 will also feature open source firmware, opening the platform to community development.
Specifications (Preliminary):
Keyboard 61 controller with mini keys, polyphonic aftertouch
Ribbon controller
16 Pads 16
9 Faders
9 Rotary controls
Display
Pitch and modulation wheels
Firmware announced as open source
The Behringer POLYKEYS 61 has a target price of $199 USD. The release date is to be announced.
Juan Atkins, a founding architect of Detroit techno, has died at 64, leaving behind a body of work that helped transform electronic music into a global movement.
Juan Atkins, the Detroit-born producer, DJ, and label founder widely regarded as one of techno’s originators, has died at the age of 64, his management company has confirmed.
Atkins was due to perform at Mexico City’s Yu Yu Club on the night of 31 October, but is reported to have been found unresponsive in his hotel room before his scheduled performance.
Alongside Derrick May and Kevin Saunderson, Atkins helped establish the sound and philosophy of Detroit techno. His work fused funk, science-fiction imagery, synthesizers, and drum machines into music that imagined a different future for the dance floor. Through projects including Cybotron and Model 500, as well as his Metroplex record label, Atkins helped shape a genre whose influence would extend across generations of electronic musicians.
From Cybotron to Detroit Techno
Atkins released some of his earliest music as a member of Cybotron, a duo he formed at the age of 18 with Richard “3070” Davis. Cybotron’s fusion of influences from funk acts like Parliament-Funkadelic and, notably, Kraftwerk, helped shape the synthesized, groove-focused sound of early techno across influential tracks including Alleys Of Your Mind and Clear.The duo combined electronic instrumentation, funk influences, and science-fiction themes, producing music that departed from conventional pop structures.
Cybotron’s 1983 track Clear became one of the defining recordings of early Detroit electronic music. Its tightly sequenced rhythms, mechanical textures, and forward-looking production would influence generations of dance producers and later reach new audiences through sampling.
Following his departure from Cybotron, Atkins developed his solo identity as Model 500. The 1985 release No UFO’s became a landmark in Detroit techno, pairing machine-driven rhythms with a sense of futuristic space and movement.
Helping Give Techno Its Name
Atkins’ influence extended beyond individual recordings. His track Techno Music, released in 1988, appeared on the influential compilation Techno! The New Dance Sound of Detroit, helping establish the name by which the emerging movement became internationally recognized.
The Belleville Three – Atkins, May, and Saunderson – became central to the development of Detroit techno. Their music helped demonstrate that electronic dance music could be both physically compelling and thematically rich, connecting the repetitive structures of dance music with ideas about technology, futurism, and modern urban life.
A Lasting Influence on Synthesists and Producers
Atkin treated synthesizers and drum machines not as substitutes for conventional instruments, but as tools for creating a new musical vocabulary. Repetition became a source of momentum, sequenced patterns became expressive structures, and synthetic timbres helped create a vision of the future.
His influence was not confined to Detroit. As techno spread internationally, Atkins’ recordings and Metroplex releases helped connect the city’s early scene with audiences and artists in Europe and elsewhere. His later work included Infiniti and Borderland, his collaboration with German producer Moritz von Oswald, demonstrating a continuing interest in exploring the boundaries of electronic music.
Atkins also continued performing and revisiting his earlier projects. In 2023, he revived Cybotron with Laurens von Oswald, bringing the project into a new period while reconnecting with the ideas that had shaped its original sound.
Juan Atkins is, and will always be remembered as, the godfather of techno.
Ambient/space music artist Craig Padilla shared this live performance of Surface Ascent, an extended electronic instrumental piece, in four parts.
Here’s what Padilla shared about the technical details of his performance:
This song features heavy use of many synthesizers and effects:
Akai MPC ONE
Yamaha MODX M7
Synthrotek MST & Division 6 Modular with Source Audio Collider
Mattson Mini Modular with Source Audio Nemesis
ARP 2500 Sequencer
Arturia MatrixBrute
Hologram Microcosm
TC Electronics Ditto X4
The Mattson Mini Modular and ARP 2500 Sequencer modules create an underwater sonar-like vibe before the first rhythmic sequence begins.
This song will be available on Padilla’s upcoming live album, First Light Over Aurora. You can find Padilla’s music at his Bandcamp site.
