FL Studio Mobile | Coming Soon
As we reported on earlier FL Studio are preparing for their mobile solution, most likely focusing on iOS, here is yet another teaser from the FL team:
http://www.flstudiomobile.com – Create multi-track sequenced projects wherever you are. Then you can load these projects if you want into FL Studio and take them to the next level. Compatible with the iPhone, iPad and iPod (touch).
AfroDJMac Dubstep Lawnmower Man
This weeks freebie from AfroDJMac:
Dubstep wobble bass created with a sample of a lawnmower engine. From there a sub bass synth using Analog is layered underneath to produce some window rattling low frequencies. As always, this rack can be manipulated to taste to serve as anything from a dance floor dubstep mind killa to an airy atmospheric pad hovering overhead.
Every week I post a new Ableton Live Rack, please check http://www.afrodjmac.com for synths from the last few weeks and for another next week.
Download here: http://bit.ly/freesynth7
This week, I am harnessing the power of the lawnmower’s song and coupling it with a deep sub bass sound to create the “Dubstep Lawnmower Man” synth. After sampling my lawnmower, I have applied filters and effects associate with the Dubstep genre to create those massive filter wobbles that have become so popular. Next, a deep sub bass synth was create using Ableton’s Analog synth to really get those speakers shaking. Each sound can be mixed together or played separately, which means even if you are not into the sound of my aging Craftsman mower, you still have a chest thumping bass sound to play around with.
Ableton Live iPad controller apps – Miixer tutorial
The Miixer module for Griid gives you high-resolution control over your mix. Make precise adjustement to the volume or make drastic changes to the sends and pans. Options include 0dB lock, relative touch mode and units display. Miixer is free with Griid Pro and available as an In-App purchase for Griid.
Ladytron are out filming
In a tweet sent out yesterday Ladytron inform that they are in Normandy filming the video for their new single “White Elephant”. The single is the first sign of life of their upcoming “Gravity the Seducer” album, their 5th already, which is the follow-up to 2008’s “Velocifero” album.
The band’s last new material consisted of two new tracks, “Ace of Hz”, and a cover version of Death In June’s “Little Black Angel”, both included on a compilation album released in 2010.
Audio Browsing Redefined – maybe
Soundtorch lets you browse through your audio collection extremely fast. Just drag your audio files onto the Soundtorch view ― all sounds are immediately arranged in a meaningful way and ready to be auditioned. Soundtorch is driven by the C.A.S.E. (Computer Aided Sound Exploration) engine, a sophisticated suite of algorithms that analyze and intelligently classify your audio collection.
With Soundtorch you can listen to sounds using a virtual torchlight ― all sounds illuminated by the light are played back simultaneously. This allows you to get an overview of literally thousands of sound files in a matter of mere minutes. As you zoom in or focus the light beam, you can still listen to one sound at a time.
Even though Soundtorch plays so many sounds at once, there’s no cacophony. Your mind is powerful enough to easily spot the sound you like. Soundtorch further positions each playing sound on a surround system, or uses advanced surround virtualization when listening with headphones.
http://accessive-tools.com
http://portal.acm.org/citation.cfm?id=1520465
http://www.j3l7h.de
Dr. Bob’s Collector Pack
This luxurious box set includes Arturia’s award-winning Minimoog-V and Moog Modular V, a DVD of the Moog documentary, an archival book featuring unreleased material curated by Michelle Moog-Koussa entitled From Bob Moog’s Private Archives, and an official Bob Moog Foundation button.
Quantities are limited to 1,000 copies worldwide. Profits will be donated to the Moog Foundation to
benefit their projects and help carry Bob Moog’s legacy forward.
To celebrate this event, Arturia is also organizing a contest to win a 1975 Minimoog synthesizer on
their Facebook page at www.facebook.com/arturia2.
“We are delighted to partner with the BMF and bring to musicians Dr. Bob, a pack that will be of high
value to everyone interested in Bob Moog’s legacy. Years ago, Arturia was extremely lucky to work
with Bob Moog on the re-creation of some of his most famous synthesizers. Today we are extremely
happy to support the BMF and give a little back, while bringing to the market a great collector box,” said Frederic Brun (President of Arturia).
“The Bob Moog Foundation is proud and delighted to share many items from our archives for the oneof-a-kind From Bob Moog’s Private Archives booklet included in Dr. Bob’s Collector Pack. The items gracing these pages, many of them rarely seen, illuminate pivotal junctures in the rich history of the Moog legacy. From Bob Moog’s Private Archives is the first published collection of images from the vast trove of materials that Bob accumulated over the length of his 50-year career; it serves as the ultimate complement to the materials in the Pack. Our thanks to Arturia for highlighting the sonic, historical and human legacy that Bob Moog left for us all to enjoy,” said Michelle Moog-Koussa (Executive Director of the Bob Moog Foundation).
Dr. Bob’s Collector Pack includes:
• Minimoog-V and Moog Modular-V (V2.0) software instruments
• More than 1,600 presets created by a selection of world-class sound designers
• Moog DVD Documentary by Hans Fjellestad (Multi Region, approx. 120 min)
• From Bob Moog’s Private Archives, a 72-page book including previously unpublished
documents by the Bob Moog Foundation
• Bob Moog Foundation official button
MSRP 299 USD / EUR 249
New electronic/ambient treat from BEARS in NIPPON – Okinawa
In this video:
New single from electronic/ambient act Bears in Nippon – Okinawa
Featuring vocoders, Moog synths, ARP, Jupiter8, Reason DAW, AKai and samplers.
Movie: Produced by BiN. We pay tribute to all these great animators who have contributed with material
Taken from the forthcoming album – Sapporo Love
New elements for Reaktor
Audio demo for new released NI Reaktor Ensembles:
– Reaktor Phadia
– Reaktor Bass One
– Reaktor Piky
Download for free: http://www.thecolorspace.net/software.html
The Reaktor Library is one of the prominent features of the software, featuring a large variety of sound generators and effects that can be used as stand-alone instruments, or as an educational resource for backwards engineering. Reaktor 4 featured a library of 31 Reaktor ensembles. The fifth generation of software came with 32 new modules (though some were upgrades of Reaktor 4 Library tools). The libraries provide a mixture of conventional implementation of software sythesizers, samplers, and effects, along with a few ensembles of experimental nature, with emphasis on parametric algorithmic composition and extensive sound processing. Due to complete backwards-compatibility between later versions of the software, Reaktor 5 users have access to all 63 proprietary ensembles in Reaktor Library.
The Pleasure Principle – Gary Numan returns
Under the Radar met up with electronic giant Gary Numan for a chat: Groundbreaking electronic artist Gary Numan is celebrating the 30th anniversary of his seminal album, The Pleasure Principle. As part of this revelry, he is returning to New Zealand for the first time in 31 years and UTR caught up with him to discuss how it feels to revisit an album three decades later, whether he knew the album was going to have the impact it has and what made him write such music in the first place.
You’re coming to New Zealand this month, are you looking forward to it?
Yes, it’s been 31 years since I was there last, so it’s very cool. I’m very very pleased to have the opportunity to come and do it again but I’m also very aware that a lot of time has passed and I don’t know what to expect really. So I’m very pleased that I’m coming I just not really confident, I have to say, I really don’t know how it’s going to go.
Is it crazy to think The Pleasure Principle came out over three decades ago?
It’s funny, actually. Sometimes it feels like it was yesterday and sometimes it feels like it was 130 years ago. So much has happened since I wrote that album that I feel like such a different person to what I was when I wrote it. It’s a little bit weird going back to it after such a long time and I have to say that I’m not really a fan of looking back into the past, I’m much more of a fan about what I’m doing tomorrow than yesterday.
When the 30th anniversary came along I didn’t want to make a big deal about it but I didn’t want to ignore it either, so I thought I’d just do one show in England and all the hardcore fans can come along to that. Then that sold out really quickly so it became four shows and then at that point the record company got interested and they wanted to do a special anniversary issue of the album with all these extra tracks they’d found in the archives, and so it turned into a much bigger tour. And then the Americans – it was quite a big album over there when we toured it there – got interested. So what started as a single gig has grown into this much bigger thing that I never planned.
I’ve enjoyed it more than I thought I would, because I’ve always found anything to do with nostalgia is sort of taking a few steps backwards, and I’m really not that interested in playing old songs so for me to do this is quite a big thing. Having said that it’s been really interesting to play the music I wrote when I was a boy.
The Pleasure Principle is what the tour is about, so what we’re doing is playing that album for the first 45 minutes but then we’ve got another 45 minutes or more which tends to be new stuff, and quite often we’ll do two or four songs that aren’t even released yet. For me it’s quite interesting to be playing things that are right from the beginning and things that are so new they haven’t been heard, all in one show. It’s a nice way of showing people something I’m proud of from when I started but also how it’s evolved into what we do now.
How does it feel to have an album that is still musically relevant three decades after it was released?
For a long long time I didn’t think much about it at all. Obviously when I made it I was keen to make it sound as good as I could and then out it went. Some people in the press liked it but most people didn’t – it generally got pretty bad reviews, especially in the UK. The press didn’t really go for it here, so it took a long time before people started to view it the way they do now.
A really interesting thing happened a while ago where the NME Magazine did a retrospective review of it and said how important it was and how innovative it was – all these really complimentary things – but when it came out they absolutely slagged it into the ground, they hated it. Since I’ve gone back and re-visisted it again, I do feel proud of it in a way that I never was before. I think when it first came out it was quite a quirky unusual record for the time and I appreciate it more now than I did then. It just sounded like a record that I’d made rather than anything that was particularly unusual or different so I’ve grown proud of it and I appreciate it now more that it was quite an unusual record for the time.
Electronic music concert – Part I & II
Background information to these two nice videos:
RETROTECH is an electronic music concert created e composed by CARLOS TRILHA. On stage, he use synthesizers, analogue sequencers and drum machines from the 70’s and early 80’s. These historical instruments evoke the origin of characteristic electronic sounds that are now widely used in many types of pop and electronic music.
Photos: flickr.com/photos/carlostrilha/sets/72157608025399794/
A unique detail of this production is that they do not use loops or sound libraries. All the sounds are created from real instruments and are first generation, allowing RETROTECH to make a striking reinterpretation of the classic sound of electronic music.The highlight of the live performances is the use of rare analog instruments, staged to show the public how these interesting devices work. In addition, RETROTECH also uses a special set of projection images from generative code (created in real time), synchronized by software written with MAX/MSP/JITTER by ALESSANDRA MARFISA specially for each performance. RETROTECH is a work that recalls the “belle epoque” of electronic music; more than just an exciting audio-visual experience, it is “an inspiring journey through time for lovers of contemporary art.”
DATAMASKIN
