This module is amazing!
4ms new Eurorack synth module, the VCA Matrix – a playable 4×4 matrix of 16 VCAs.
Four CV or audio inputs can be routed in any amount/combination to four outputs, using the 16 CV control jacks, Level knobs, and Mute buttons. Here we are trying out the brand new 4ms VCA Matrix module. This module can do you so many things its hard to know where to start! This patch is a fairly basic voltage router. Various LFO’s, slow, fast, and pitch-tracking are coming in on the left, the row labeled inputs, A B C D. The outputs, 1 2 3 4, are routed to different CV inputs on modules in our sequencer patch.
Output 1 goes to a filter cutoff, output 2 to delay time, output 3 to an oscillator pitch input, and output 4 to another filter’s cutoff. Then you can “play” your different routings! Slot 1C has a slow, squarewave LFO applied to it’s control input, and you can see the light flash when the square goes high.
This is only one example of what the MatrixVCA can do. You could use it as a patch storage/recall device enabling you to make modular presets. You could send fixed voltages into the inputs, creating playable sequences, The MatrixVCA also passes audio like a normal VCA. This can allow you to make some really complex patches. Kinda’ like a guitar pedalboard on steroids;) This is just the beginning…. This module is amazing!
Features:
- 4 CV/audio inputs and 4 outputs (buffered and dc-coupled)
- 16 VCA’s using high quality SSM chips
- Playable surface with 16 latching Mute LED buttons, to mute each VCA individually (mute button disconnects Control jack and Level knob, and silences the VCA)
- LED button brightness indicates sum of Control jack, Level knob, and Mute button
- 16 Control jacks for VCA level control
- 16 Level knobs attenuate the incoming Control signals. The control jacks are normalled to +5v, so if no control is plugged in, the knobs act as manual level (boost/cut) controls
- Matrix Expandability: VCA Matrices can be connected to form a larger matrix using headers on the back (4×8, 8×8, 12×4, etc)
- Control Expandability: 16-pin header on back side of PCB allows an external device to control all VCAs: e.g. patch recall, patch sequencing, preset patterns such as quadrature panning, etc.
- Suitable as a 4×4 mixer, splitter, as well as dynamic signal router/processor
Almost everything is impossible in chromatic tuning
Starting with a (Just) second interval (A and B chord) and moving around to the different As and Bs in Pythagorean tuning to show that this sound engine is richer than it appears. Almost everything is impossible in normal chromatic tuning. You can’t produce any real intervals other than the octave with it, and you can’t produce these mirages of chords that aren’t actually being played like this.
The Final Song
Dance pop tutorial in Reason 5
In this video:
This Reason 5 Tutorial is for producers looking to get into Chart-tastic Dance Pop like Lady Gaga, Ke$ha, Katy Perry, Taio Cruise… basically anything produced by Max Martin or Dr Luke. Incredible producers.
If you use fruity loops or garage band or logic, protools, ableton or any other DAW I’m sure you’ll find something in here you can learn from, since I try to explain *why* I do things rather than just *what* I do.
Let me know what you think of this 7 day song!
Sound Designer and Mixer Gary Rydstrom Talks About Cinema Sound
Check out this interview with sound designer and mixer Gary Rydstrom, who talks with Dolby about the field itself, as well as the perils of recording sound effects in the real world.
Background:
Rydstrom graduated from the University of Southern California School of Cinematic Arts in 1981.[1] He began his career at Skywalker Sound, Northern California in 1983. Offered the job by a college professor, Gary received the opportunity to work with his mentor, Star Wars sound designer Ben Burtt. After gaining invaluable experience as a sound technician in Indiana Jones and the Temple of Doom, he went on to do sound design for the comedy Spaceballs. The sound design for Backdraft, prepared from scratch, would become the precursor for his sound for Terminator 2: Judgment Day. The original sound effects from Backdraft are constantly referenced and have been used for numerous other films including the The Lord of the Rings film trilogy and Shrek.
Gary Rydstrom’s work on Terminator 2: Judgment Day is arguably his career crowning achievement where he pioneered original techniques still used to this day for creating realistic sound effects. Even to this day Terminator 2 is considered the benchmark for high-end motion picture sound design and Gary went on to win an Academy Award for his groundbreaking achievement. Gary’s sound work on Jurassic Park was a milestone in terms of innovation as he and his team set out to create dinosaur sounds by mixing together numerous different animal vocalizations to make the audience feel as though giant bellowing prehistoric beasts surrounded them. The Oscar-winning film took a giant leap in being the very first motion picture to be presented in DTS.
He subsequently went on to work on sound for numerous films including Titanic, Saving Private Ryan, Minority Report and Finding Nemo. He won an MPSE lifetime achievement award for his stunning career and regularly speaks at various sound design forums sharing his extensive knowledge and enthusiasm with aspiring sound design artists.
He has recently made his directorial debut with the Pixar animated short, Lifted, for which he received his fourteenth Academy Award nomination. It was included in the Animation Show of Shows in 2006. His debut feature film for the studio, Newt, has been put on indefinite hold.
Reaktor Aurea – Audio Demo
A demo of the recently released Aurea for Reaktor
In this video:
Audio demo for Reaktor Aurea ensemble.
Description: 2 OSCs Parabol / LFO based synthesizer
Download for free: http://www.thecolorspace.net/software.html
Official Website: http://www.thecolorspace.net
Twitter: http://twitter.com/_thecolorspace
Tumblr: http://the-colorspace.tumblr.com/
Facebook: http://www.facebook.com/thecolorspacepage
Soundcloud: http://soundcloud.com/the-colorspace
A short demo of what Horizon synth for iPad is capable of
A short demo of what Horizon synth for iPad is capable of. iPhone version coming soon! (MIDI keyboard connected).
Here are a few of the highlights of Horizon’s features:
- True SuperSaw sound emulation, first found in the legendary Roland JP-8000 synthesizer. SuperSaw is a layered waveform consisting of multiple saw waves which are detuned to create an extremely full and epic sound. It’s possible to use 2 supersaw oscillators per voice * 7 polyphony = 98 saw oscillators playing the same time.
- Two independent filters per voice with configurable routing. You can select between various filter types including classic resonant LP, HP, BP, Notch and less common like Comb and Formant.
- The Morph Group function lets you continuously morph of up to 30 parameters in a sound (including effects), using only the modulation wheel.
Synthesist and author Mark Jenkins calls Horizon ‘the first truly mature polyphonic synth for the iPad’. And early reviewers in iTunes have given Horizon synth a 5-star rating and have called it ‘an instant classic’.
Barking Spiders – modular synth improvization
Modular being fed by 2 voices from Numerology software. MOTM 650 MIDI-CV converter and 440 filter, Hordijk Dual Phaser (featured heavily, lower right), Modcan VCDO and DDL, Moon Modular 563 trigger sequencer, DIY switcher, STG Wavefolder, Encore UEG, and Synthesizers.com 107 filter, slew limiter, 2 EG’s, 2 osc (one as LFO) and mixer. All sounds originate from the Modcan VCDO and one synthesizers.com Q106 oscillator into a Suit and Tie Guy wavefolder. I’m using the wonderful Hordijk Dual Phaser in lowpass mode more than phaser mode as I find the sounds a lot more interesting. This uses a microtonal scale: 3-LattA whatever that means!
Dewan Cousins Build Synths for Trent Reznor From Scratch
Cousins Leon and Brian Dewan build every piece of their solid-state analog synthesizers. All the way down to the circuit boards. Motherboard stopped by their lab for a visit.
Cymbal at 1,000 frames per second
Pretty amazing stuff 
www.fluke.com/vibrations
Explore the world of vibration at 1,000 frames per second.
Like what you see? Check out our See the Unseen compilation at http://youtu.be/W4s2UwKm7dc.
Directed by Propadata Films. Filmed on a Phantom HD Gold camera.
Vibration. See the unseen.
Artist Interview: Felix Cartal (Reason fan BTW)
Felix Cartal spent his early years as a musical pinch hitter… filling in for local Vancouver rock bands whenever they suddenly needed a member. After taking a class on MIDI production in high school, however, Cartal realized both the advantages of being a solo artist and the power of producing with Reason. His sound still borrows heavily from his punk rock origins, using synths to convey the heaviness and aggression normally coming from guitar amps.
After successful releases on Steve Aoki’s Dim Mak Records and tours with MSTRKRFT, Felix Cartal is still driven by his band roots both in sound and production philosophy.
DATAMASKIN
