Messing around in a modular mix
John Trauma messing around with the Modular Mix from Health Club Music. Using different padsounds from Roland JP8x & Jupiter 4, Ensoniq Mirage, Korg Delta & Poly 800, Lem Bit 99. All these pads were feeded into the Audio Inputs of the Modular Mixer. The Envelopes of the Mixer are running autonomously. The Channels are used are from 2 till 7.
Channel 1 is triggered by the Leploop. The filter is self oscillating and the Cutoff-Frequency is modulated by Sample&Hold from the Korg MS20.
Channel 8 is also triggered by the Leploop feeded by White Noise from the Korg MS50. The Cutoff-Frequency is modualted by a triangle Wave from the LFO of the MS50.
Featuring a new auto-panner and tremolo effect plug-in
Audio Damage has released Panstation, an auto-panner and tremolo effect plug-in for Windows and Mac.
Panstation is, without question, the most sophisticated autopanner plug-in available.
We started with a loose model of the venerable Drawmer M500′s panning engine, then added the counting features from the Audio & Design PanScan (probably the most famous vintage autopanner, and the “secret weapon” of many well-known producers.) The result is an autopanner plug-in that is second to none in both feature set and sound.
Panstation features
- Four different panning laws, including an exact 1:1 clone of the M500 pan law.
- Ten panning waveforms, including all the waveforms present in the M500.
- Free-run, MIDI tempo sync, MIDI note trigger, MIDI note number, and CC control of panning.
- Audio trigger counting feature from the A&D PanScan.
- Easy-to-read user interface. No squinting at tiny pixel fonts.
- Relative phase control of each side, for tremolo and stereo widening effects.
- MIDI Learn for full MIDI CC control over every parameter.
Panstation for Windows and Mac (VST/AU) is available to purchase for $39 USD.
Ribbon Controller tune
A ribbon controller or other violin-like user interface may be used to control synthesizer parameters. The ribbon controller has no moving parts. Instead, a finger pressed down and moved along it creates an electrical contact at some point along a pair of thin, flexible longitudinal strips whose electric potential varies from one end to the other. Older fingerboards used a long wire pressed to a resistive plate. A ribbon controller is similar to a touchpad, but a ribbon controller only registers linear motion. Although it may be used to operate any parameter that is affected by control voltages, a ribbon controller is most commonly associated with pitch bending.
In this video:
Soft Rime(樹氷)
Composed by Yuichi Onoue
All instruments are performed by Yuichi Onoue(尾上祐一)
In this video, Onoue mainly plays the handmade ribbon controller. It can change a oscillator pitch smoothly, depending on the place which you press down. It was originally made as a kind of MOOG SYNTHESIZER’s controller in late 60’s. I made this following its example. And playing style is self-taught.
more about Ribbon Controller.
http://torigoya.main.jp/RibbonController_en.html
more Ribbon Controller Videos,please watch
http://bit.ly/aTu0b2
Onoue also plays two strings original electric instuments called Kaisatsuko on backing track.
See here for detail about Kaisatsuko.
http://www.oddmusic.com/gallery/om20000.html
More Kaisatsuko Video
http://www.youtube.com/view_play_list?p=C6231E127310C9AB
Soft Rime Photos by 写真素材 四季
http://sozai-photo.com/hikosan/hikosan.html
Cool neon translucent synth and sequencer – Mochika XL
Definitely something for your next stage performance. Boutique synth maker AtomoSynth has introduced Mochika XL – a translucent sequencer + synthesizer combination.
Specifications:
- The Mochika XL synth features one analog square and saw waveform VCO (voltage controled oscillator), with a pitch range, from subsonic to ultrasonic sound.
- Glide effect with a large range.
- One square and triangle waveform LFO (low frequency oscillator), that modulates the VCO for the vibrato effect or the VCF for a tremolo effect, creating old school arcade Atari-like sounds.
- White noise generator that triggers the VCO and can create percussion like sounds, or mix the the noise with the VCO.
- Built in vactrol based Low Pass and High Pass Filter with cut off and peak controls and a envelope generator with decay control.
- Built in 8 step sequencer with global gate time control, note on/off switch and pitch slider for each step.
- The built in sequencer also has 8 playing modes:
- Oscillator mode, the Mochika becomes a drone oscillator, you can switch in real time between the 8 notes tweaking a knob.
- 4 step, 6 step, and 8 step sequencer mode.
- 4 step, 6 step, and 8 step forth and back sequence mode.
- Random mode, it generates a large pseudo random sequence.
- The Mochika XL features a MIDI input to sync it any midi device sending midi clock signals, the mochika can sync 1, 2, 4 and up to 8 times the tempo of the master clock midi device.
- All the Mochika sequencer modes, except oscillator mode, can be midi synchronized.
- The instrument is lit with 1 bright red led that indicates the LFO Rate, and 8 red leds to indicate the step that is being played.
- The Analog Sequencer is packed in a laser cut clear acrylic case.
- The instrument is powered directly from 110V or 220V AC.
- Dimensions: 177mm(W), 228 mm(D), 80mm(H. included rubber feet and knobs)
Details at the Atomolabs site.
Slick snap shots of the upcoming Fingerlab drum machine for iPad
And judging from these teaser pics we are in for at least a graphical UI treat
Fingerlab has announced DM1 – a new iPad drum machine:
We, at Fingerlab, Paris, are proud to announce the release in early July of “DM1 | The Drum Machine”, the next generation of drum machines for iPad. We have been closely monitoring and testing any iPad drum machine since the iPad1 was relased and have decided we could do better, smarter, cooler. Which is why DM1 now takes the concept one step further by unifying in one realistic and beautiful application the smartest tools for beat drumming with the best vintage drum kits.
Features:
- 24 vintage and produced drum kits, mastered at in-house Fingerlab Sound Studios
- Mixer page with pitch, length and level rotary controls and individual sound loading per channel
- Super fast drum kit loading
- Playable pattern selection for extra creativity
- Big Drum pads, quantized recording and MPC-like Repeat touch-stripe
- Step Sequencer with multi-touch matrix for unexpected beat creation
- Duo FX Trackpads for real-time sonic destruction and cool multi-FX
- Mode song with intuitive editing
- High-quality export to email or iTunes shared folder
- Optimized for iPad 2
Fingerlab expects DM1 to be available in July. Pricing is TBA.
Chip music time again – Toy Tone
Fresh out of the oven! A new production by Patric Catani, completely made in LGPT running on a GP2X.
The first officially released tracks of the Toytone project come as bassy as they wanna be. Varying between Club, Booty Bounce and an exaggerated approach of speed acid dub, you will notice that this collection was not done overnight.
Enjoy this full package of passionated Piggy tracking –
Download the full album and get two Bonus songs!
Tracklist:
1. Piggy Bounce 04:14
2. Traintrak1 03:30
3. Frogmind 03:06
4. Gpd2 Panic Picnic 03:12
5. All Toys in the House! 06:11
6. Almost too Analog 04:23
7. Was Jetzt? 02:49
8. Fosuru 09:11 download
9. Taste in Acid 08:18
10. BrmBrm 06:40
Download and listen to it from his Bandcamp page
JM Jarre with lazer beams performing Rendez-Vous
http://youtu.be/V8Ip-tEApRs
Rendez-Vous is an album of instrumental electronic music composed and produced by Jean Michel Jarre, and released on Disques Dreyfus, licensed to Polydor, in 1986. It is his fifth overall studio album. It sold some three million copies worldwide and remains Jarre’s longest-running chart album in both the USA and UK, with a 20 week run in the U.S. and an impressive 38 week run in the UK. The last track on the album was supposed to have the saxophone part played in outer space by astronaut Ron McNair, but on January 28, 1986 he and the entire Space Shuttle Challenger crew were killed 73 seconds after lift-off when the shuttle disintegrated. In memory, this piece was dedicated to him. On the album the saxophone part is played by saxophonist Pierre Gossez. The album reached #9 in the UK charts and #52 in the U.S. charts.
In April 1986, Jarre performed the large-scale outdoor concert Rendez-vous Houston in Houston, Texas, celebrating the 150th anniversary of the founding of Texas, and the 25th anniversary of NASA. The show attracted a then-world record live audience of 1.3 million people. Originally, the track Last Rendez Vous was due to be played by saxophonist astronaut Ron McNair via a live link with the Challenger space shuttle. However, after the Challenger disaster, the concert became a part-tribute to the lost astronauts.
Jean Michel returned to the stage in October for another concert, the Rendez-Vous Lyon, marking the Pope John Paul II visit to Jarre’s hometown.
Comparing Faderfox LV controllers
This demo compares the new Faderfox LV3 with previous versions. FaderFox has introduced a new controller for Ableton Live, LV3. FaderFox LV3 is designed to be an all-in-one compact controller for Live. The device can control track volumes by faders, rack parameters by encoders and joysticks and global parameters like tempo, quantization & cue/master-volumes.
The FaderFox LV3 is priced at 250 Euro (incl. VAT).
Here are the details:
Features:
- Controller for Ableton Live (also suitable for other DAW software)
- Automap setup files for Live 8 are shipped with the controller (no manual mapping necessary)
- USB interface – class compliant / no driver necessary
- Controls 8 tracks with possibility to shift the 8-track-window to further tracks
- 24 programmable buttons for all track functions
- About 280 commands – all freely reassignable (each track sends on separate MIDI channel)
- Select and start/stop of scenes/clips with dedicated encoder (clip-scroll in session view)
- 4 mulifunctional push-encoders to control rack parameters in the selected track
- 2 non-centered joysticks to control rack parameters in the selected track or in send tracks
- Global control of several global parameters like tempo, quantization and master / cue volumes
- All controls with double function by holding down the shift button
- 33 LED’s in different colors to display various informations like clip states etc.
- 2-digit-display to show current scene number and track window
- USB bus powering – consumption less than 500mW / 100mA
- Very compact design in a black, plastic casing (desktop format 180x105x70 mm, 350 g)
- High-quality faders and encoders from ALPS
- New rubber knobs for best tactile feeling
System Requirements:
- PC or Mac with a free USB port (1.0 or higher) or any USB hub
- Ableton Live 8 or software which allows user assignments of continuous parameters (CC)
Olegtron 4060 prototype test
CMOS oscillator/divider chip 4060 starved and bent with two leds. Cuttin the signal (creating rhythm) can be done for example by patching lower octaves to output through diodes.
In this video:
Testing an prototype from Olegtron. The Olegtron 4060 box you see on the table has 3 leads connected to the mixer (in this demo).
The device is generating all the audio you are hearing, except some reverb from the cheap mixer, what a wonderful little box the 4060 Olegtron is! This demo shows just 0.05% of what you can do with it…
Stay tuned for more and start saving up, because you will want to buy one!
Sonnox Fraunhofer Pro-Codec Video
An overview of the new Sonnox Fraunhofer Pro-Codec plug-in, which allows the auditioning of encoded audio in real-time.
For a free demo licence visit: http://www.sonnoxplugins.com/demos
The song used in the demo is “Happiness” supplied courtesy of Jay-J.
In the past it has not been possible to critically audition and then encode multiple formats in real time within a host DAW environment. The revolutionary Sonnox Fraunhofer Pro-Codec now makes this possible, and includes extensive monitoring tools and built-in encoding/decoding features.
Using this plug-in mix engineers may produce mixes optimised towards specific target codecs, thereby ensuring maximum fidelity. Similarly, Mastering engineers may audition in the final format and produce compensated masters for final encoding and distribution.
DATAMASKIN
