Karlax – wireless controller to re-establish the artist’s body
Karlax is the first wireless controller to re-establish the artist’s body at the heart of the Digital Arts performance. This instrument’s revolutionary ergonomic design uses the artist’s own natural movements for an unlimited freedom in the creation and artistic expression.
Sounds of the Doepfer A188-1
A more chaotic and noisy take this time. Demo with sounds processed with the Doepfer A188-1 (4096) BBD Delay. Sounds and Visuals by Raul Pena. Modules used: Doepfer A-188-1(4096) BBD Delay, Wiard Noisering,Make Noise Maths, Make Noise Wogglebug, Doepfer 2x A110,149-1 and 2, Synthesis Technology/MOTM E560 Deflector Shield,Plan B Model 24,Bubblesound uLFO.
Featured hardware:
The “WoggleBug” is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. The Wogglebug’s sole purpose is to overtake the control voltages produceded by your keyboard during performance, and to give voice to your synthesizer’s ID. It is your synthesizer’s ID MONSTER.
A continuation of the “smooth” and “stepped” fluctuating random voltage sources pioneered by Don Buchla, the core of the circuit is based on the Buchla Model 265 “Source of Uncertainty” module, which many consider to be the most musical of all random voltage generators. Like the 256, the Wogglebug utilizes a vactrol based low frequency smoothing filter, VCO and Sample & Hold to produce Stepped and Smooth (or lagged, slewed) control voltages in the range of 0 to 10 volts. Grant’s Wogglebug design expands on this system to include the other-worldly Woggle CVs (stepped voltages with decaying sinusoids at the edges), which must be heard in action to be truly appreciated.
In a moment of considerable noise, Richter decided to tap into the sound sources at the uncertainly beating heart of the Wogglebug, and bring them forth to the instrument’s panel. He then figured a clever way to “ring modulate” these sounds, and that output now graces the panel of all Wogglebugs.
Thus, the Wogglebug is a complete system, no external modules are necessary… however, all voltage controlled systems long to be tickled, bitten, plagued and eventually destroyed by the Wogglebug.
Jeremy Ellis performs on Maschine Mikro + NI’s Transient Master effect
Here’s one more video about the Maschine Mikro sprung out of the NI labs 
Check out finger drumming phenomenon Jeremy Ellis as he performs an amazing live routine on MASCHINE MIKRO, the upcoming compact version of the acclaimed computer-based groove production system.
For more information on Maschine Mikro, go here: http://www.native-instruments.com/maschinemikro/
“Check out TRANSIENT MASTER – a must-have dynamics effect. Uniquely powerful, deceptively simple and extremely useful. The magic wand for mixing drums and percussion.”
Tutorial time – How to make trance music
Background info: This is a video that takes an in-depth look at how I create trance music and all the instruments that make up a powerful and atmospheric sound. I’ve cropped out 15 measures from my track Spirit Within You and I go through instrument by instrument how it is played (the notes), what presets are used in Nexus2, VanGuard, and Sylenth1.
In the video I use Cubase 5, but this tutorial / howto is universal to any sequencing software and the aim is to let you know:
* Simple trance drums
* Two simple and simultaneous trance basslines
* A massively layered lead using 5 lead instruments
* Padding the sound with trance gates and pads
* Adding a trance piano
I will try to make another tutorial as well where I go through the building blocks of the entire track with intro, chorus, breakdowns, outro etc.
Maschine gets a little brother: Micro Maschine
MASCHINE MIKRO is the new cut down version of NI Maschine. This latest addition to the family has the same powerful software and 6 GB+ sample library as its big brother, as well as the same responsive pads on a more compact and portable controller. What is not included are the pots and the big display. But also nearly half the price is removed!
Native Instruments goes IOS
The first ever Native Instruments iPhone® and iPod touch® App is an intuitive and powerful beat sketchpad based on MASCHINE’s groove production studio concept. iMASCHINE is perfect for developing song ideas anytime, anywhere – Play and record drums on the 16 pads, jam a melody on the keyboard, sing on top of your loops via the built-in audio recorder or create your own unique sample banks from any source.
And when you’re done, you can finalize your track in the full version of MASCHINE or MASCHINE MIKRO or directly upload it to SoundCloud and share with your friends.
iMASCHINE will be available at the iTunes App Store for $ 4.99 / 3.99 € from October 1st
Stereoklang talks to Welle:Erdball on gear, radio stations and the release of their new album “Der Kalte Krieg”
“Der Kalte Krieg” is the name of Welle:Erdball new album featuring covers of songs during the Cold War era. We wanted to know more of what has happened with the band since the DVD Zeitsturm was released and really understand what this Homo Futura project is all about. Honey and Freuline Plastique took some time to chat with us and transmit the latest buzz from the Funkhausstudio.
Why did you start Homo Futura and what is it that you can do there that you cannot do in Welle:Erdball?
In the begining it was “Das Präparat” that started as an official Welle:Erdball side project. However, when we split up there were still some shows to do, so we did them anyway with a different set up (F.Nstein & Plastique). This worked out really fine and was a lot of fun. So we decided to keep going and it was really fun to create a new band, new image, new stage show etc.
Official video of “homo~futura – Links-Rechts”
The Zeitmaschine played an important role in the DVD you released last year. Do you see yourself as time travellers when it comes to your music and the band image?
We’re traveling through time constantly – just take a look at your watch! Apart from that, music is definately a good way to travel through time with your mind.
You once said (some 10 years ago) that Welle:Erdball had a long way to go before reaching the goal of Welle:Erdball – The goal was to sound like Welle:Erdball. Have you reached that goal now and how is it shown in your music and visuals?
I think we are really close with the new album “Der Kalte Krieg”. But we haven’t really reached our goal yet. It might sound hard to believe, but since the start of Welle: Erdball, all the concepts and partly the names of the broadcasts and songs were already set. And we still have to accomplish a couple of things on this list.
So it won’t be over for a long time.
Could we expect a radio show by Welle:Erdball including only Gainsbourg song? We feel that the work of Serge matches the Welle concept very well. We’re sure he would approve of you bringing his work to a younger generation.
Probably not. We’re not a “cover band” although we appreciate Gainsbourg’s work a lot.
But actually the upcoming release “Der Kalte Krieg” will contain only cover versions of favorite songs from different artists about the cold war and others.
Serge Gainsbourg was a French singer-songwriter, actor and director. Gainsbourg’s extremely varied musical style and individuality make him difficult to categorize. His legacy has been firmly established, and he is often regarded as one of the world’s most influential popular musicians.
You have a lot of political and social ambitions with your songs, ranging from the criticism of gaming consoles to the man-machine integration. What areas are your main concerns today and why, and would you agree on the theories of a technological Singularity that has been put forward by e.g Kurzweil?
It is hard to comment on this. Since the opinion of Welle: Erdball not always is the personal opinion. I find it important that you first have an opinion at all and that there is a message in the music and in the lyrics. Not: “Come on, let’s have a party tonight!” :). And we see it as our duty to have a social commitment but we are no judges, who tell the audience what to think.It is only important that you form your own opinion or that there is a chance to do so.”
What is it that you like about the 50’s sound?
Well we’re using 50s asthetics since the beginning and we’re all big fans of this aera. The sound of the 50s and the subculture behind it was one of the first “punk” movements in music history.
Probably the most charming way of going against the mainstream.
You describe yourself as hard working, keeping you self busy 28 hours a day. Is that just the German spirit and work morale showing or do you have an artistic fire burning inside?
I don’t know if it is the German mentality, maybe a little…But under any circumstances is it the Welle: Erdball-mentality.
Read the full interview here >>
One Man Band Electronic Jam
“By the way a clip to see me jaming with some of my equipment. The used instruments are:
A-100 Analog Modular System
Mopho filtered by EBBE & FLUT
Novation X-Station
Korg Kaoss Pad”
Analog Vinyl Sampling
Experimental analog sampling with modified vinyls.
Sectors from a vinyl record are cut and replaced by pieces with exact shape from other records. When played in a vinyl player the needle follows the grooves from both sectors creating sampled tunes or loops.
Music sampling has been done for years using different techniques. Currently samplers (either as a piece of hardware or as software) is the most extended tool for playing samples that can come from digital formatted music, live recording, vinyls or tapes. One of the most old techniques for sampling was cut&paste the audio tape. I love this video from Delia Derbyshire using reel-to-reel recording, creating loops by cut&pasting the audio tape, and sync the samples to create music. More information here: blog.ishback.com/?p=918
In this video:
Supertramp – Crisis? What Crisis?
Paul Anka – My Way
Chicago – Chicago X
Lil Jon – Kings of Crunk
Working with the Wusik Station Version 7
Only Wusik Station Version 7 sounds, from its default sound library. No extra effects or sounds were used.
Version 7 is a 32 and 64 bit native VSTi
Download the full MP3 version of this song:
DATAMASKIN
