Kenton Retrofit for MacBeth M5N
Kenton Retrofit kit adds MIDI to the MacBeth M5N synthesiser
Bomb The Bass are back with new material – Time Falls Apart
Out on July 26th is “Time Falls Apart”, the brand new EP from Bomb The Bass aka British musician and producer Tim Simenon. The original album version of “Time Falls Apart” has something from that good old Manchester sound in it that makes you nod your head instinctively. Featuring the shoe gaze vocals of Paul Conboy, it got remixed 5 times. Recently Simenon already surprised us with the excellent, self titled debut of his other project Ghost Capsules, and now it seems Tim Simenon is on a very inspirational trip, because this new Bomb The Bass material promises something sweet indeed.
The track is taken from the “In The Sun” album which will be out on Simenon’s own label O*Solo Recordings later this year. The previous Bomb The bass release dates from 2010 when “Back to Light” was released on !K7 / Electric Tones.
Bomb The Bass – Time Falls Apart
Directed by Eni Brandner
Time Falls Apart EP 2013
In The Sun Album 2013
p&c 2012 O*Solo Recordings
www.bombthebass.com
www.osolorecordings.com
Behringer iStudio 202 and MIDI controller FCB1010 with audio – iPad improvisation test-
Behringer iSudio 202 and FCB1010 MIDI foot controller
Used Audiobus , Loopy HD as output and Jam up XT for guitar ,Rhythm Pad free for drums
yehezkel raz – Paganini Etude for Push [original]
Composed with Ableton Push // yehezkelraz.com
Controllerist Yehezkel Raz gives Ableton Push a workout on Paganini Etude for Push, a series of original variations on a theme by classical composer Niccolò Paganini.
Vince Clarke demonstrates Synth Gurning
Synth legend Vince Clarke is conducting a pretty unique “synth” competition, namely the first International Synth Gurning Competition. Synth Gurning is defined as the art of producing synth sounds or effects using just the voice whilst pulling a funny face.
The concept for this contest is simple: video yourself making your own synth sound or effect with just your voice. Clarke is also looking for ‘interesting facial expression’ (gurning), to enhance the performance. Upload the video to YouTube and tweet him (@thecabinstudio) the link before midnight (UK) on August 16th 2013.
Just in case you don’t know what this means, you can view a video of Vince Clarke below showing you how to do it.
Clarke will be giving away his own personally autographed, limited-edition, Mute Synth to the best performer, and will sign certificates of distinction for the runners up.
Erasure’s Vince Clarke demonstrates the art of ‘Synth Gurning’ as part of his introduction to The First International Synth Gurning Competition which is currently running on his website here…
http://www.vinceclarkemusic.com/inter…
ARP Odyssey – spiral sequence 2
Composed, arranged & performed by Bruno Ender Lee, studio-recording July 19. 2013 (no video, just pictures & sound)
every sound was made with the ARP Odyssey, recorded on 4 stereo-tracks (plus: Doepfer MAQ 16/3-sequencer, stereo-panning delays & chorus)
2013 Velvet Voyage Productions / all rights reserved
Circuit Bent Playtime Keyboard
Time for a new circuit bending video, details below:
Playtime Keyboard
switched mono 1/4inch jack output
white LED
red LED
power starve control
pitch up/down control
hi-fi boost
Monotribe Sync input with 4 rotary glitch switch to select which button glitch you want. The Monotribe triggers various buttons on the keyboard to make it sound glitch – video to follow for that
.fd. online
Facebook – freeform delusion
Twitter – https://twitter.com/freeformd
eBay – Search for – Circuit Bent
My older Circuit Bending channel – http://youtube.com/eecouk
MPC 2500 + MS-20 MINI *Jam Session*
Background video description:
* lo-fi drum’ samples from Casio CZ-230S
All synth’ samples from MS-20 Mini except the chord pad, from king korg.
I’m getting crazy with MPC’s possibilities. I’ts so amazing! I didn’t know what is a REAL sample machine! Fuck computer!
Hope you enjoy!
Pedro Zopelar
mawwrecords.bandcamp.com
Moby – A Case For Shame (with Cold Specks)
Moby’s ‘A Case For Shame’ is the first track to be released from his new album ‘Innocents’, which comes out on 1 Oct and is available to pre-order now:
Deluxe CD: http://smarturl.it/innocents2cd?IQid=…
iTunes LP (inc. ‘A Case For Shame’ instant download): http://smarturl.it/innocentsitunes?IQ…
Double Gatefold LP + CD: http://smarturl.it/innocentslp?IQid=y…
While we still have to wait until October 1st to hear the new Moby album “Innocents”, a new video has already surfaced on YouTube. “A Case For Shame” showcases Moby’s collaboration with fellow Mute artist Cold Specks. The video is a directorial debut from Moby and was shot by Moby at his home in Los Angeles. It features the masked characters from the album cover, Cold Specks and Moby himself under water.
Says Moby: “‘A Case For Shame’ is the first video I’ve shot and directed for one of my songs, as in addition to directing I was also the camera person. The video narrative is as follows: I’ve drowned, and I’ve gone to an after-life inhabited by people who are concealing themselves because of shame. The masks are not meant to be conventionally frightening, the masks and sheets are being worn because the after-life people are hiding, because they’re ashamed.”
For the new record Moby worked for the very first time with an outside producer, namely Mark ‘Spike’ Stent. Other collaborators include Wayne Coyne (The Flaming Lips), Mark Lanegan, Cold Specks, Skylar Grey, indie-folk singer Damien Jurado, and Inyang Bassey who was the vocalist on “The Right Thing” from Destroyed.
Track-listing:
- Everything That Rises
- A Case For Shame (with Cold Specks)
- Almost Home (with Damien Jurado)
- Going Wrong
- The Perfect Life (with Wayne Coyne)
- The Last Day (with Skylar Grey)
- Don’t Love Me (with Inyang Bassey)
- A Long Time
- Saints
- Tell Me (with Cold Specks)
- The Lonely Night (with Mark Lanegan)
- The Dogs
OR-1m – new advanced sixteen-step sequencer
Orwell Digital has released the OR-1m Advanced Step Sequencer. The OR-1m is a sixteen-step sequencer with per-step controls for note pitch, duration and velocity. In addition, each step features four knobs for generating MIDI continuous controller data of the user’s choosing when each step is called.
The OR-1m also features MIDI remote control of all significant front panel controls via MIDI Controllers. Bi-directional MIDI control is also provided, allowing for MIDI control surfaces Behringer to update their displays when parameters on the OR-1m’s control panel are changed via mouse or preset recall. This allows users to experience the flexibility and performance of a computer-based sequencing solution while retaining the immediacy and feel of a hardware control surface.
The new Bias Channel allows users to easily offset the values of outgoing MIDI data without changing the settings of the individual steps. With a turn of the Bias Channel’s Pitch knob, all notes being generated by the OR-1m can be transposed up or down by single steps, or radically shifted over several octaves. Thanks to the OR-1m’s Force To Scale module, the resulting note output can remaining firmly in key. Similar controls on this channel allow for other MIDI output to be offset as well, including note duration, velocity and the four-per-step MIDI continuous controllers.
The Random Module allows all of the OR-1m’s step and loop parameters to have their values randomly generated within user-specified ranges, either individually or with all parameters as a group. Notes can be generated over a span of a just few pitches, or the entire multi-octave range allowed by the MIDI specification. Likewise, MIDI controller data can be limited in the values randomly assigned, which can be useful when a user needs to restrict the maximum resonance setting of a filter or similar parameter.
The OR-1m also introduces the concept of Random Locks. Present on each sequencer step and sequence loop, when activated they prevent their associated area from both having its parameters changed by the Random Module, as well as protecting from value alterations due to Global Channel changes. Another purpose for this function could be found when using the Random Module to repeatedly generate new note data, while periodically “locking” the steps which the user wishes to retain and protect.
The Loop section of the OR-1m features four loops, each of which has separate settings for the highest and lowest steps that will sound when the loop is played. Loop settings also include controls for section transposition and playback direction, including forward, reverse, alternating and random playback modes.
Any of the four loops can be selected for playback individually. In addition, all four loops can be played in sequence, allowing for the generation of extremely complex melodic lines and rhythmic patterns. When per-loop parameters such transposition and loop start step and end step are randomized, this loop-chaining feature can lead to very unexpected and often inspiring results.
The OR-1m also supports note-triggered sequence playback and direct-step triggering via MIDI Notes. Note triggering allows for the OR-1m’s sequencer to play its next step when a particular MIDI note is received. This allows for sequencers and MIDI instruments to control the OR-1m using a pattern of MIDI notes which could be quantized, to trigger the OR-1m with whatever “feel” the user prefers, or played live, allowing for all manner of realtime creative interaction.
Direct Step Triggering allows any of the OR-1m’s sixteen steps to be triggered when specific MIDI notes are received. This provides intense flexibility in playback order and allows users to intermix sequential playback with steps called out of their pre-defined sequence order.
The Common Channel on the far right of the OR-1m’s control panel allows for assignable MIDI controllers to be sent independently of the internal step sequencer. These controllers can be used to set the volume, effect mix or any other MIDI-controllable parameter of the unit or software receiving the OR-1m’s MIDI output.
The Force To Scale module allows users to make every note sent from the OR-1m conform to any of a wide variety of provided scales. Key can also be specified.
The OR-1m also provides extensive patch storage capability, with over 1024 patch locations available per bank. Banks can be easily saved to and loaded from disk.
Price: $40 via digital download.
DATAMASKIN
