Drum and Bass on iPad with Glitchbreaks, Magellan, DM1 and Cubasis
Just a quick video on how to crreate cool drum and bass beats with iOS apps. Drums: GlitchBreaks and DM1, Bass: Magellan (2 instances), FX – Animoog, DAW – Cubasis.
The Bleep Drum
Arduino based drum machine with adjustable samples and loop sequencing.
Available February 8th from bleeplabs.com and Sparkfun.com.
All audio direct from The Bleep Drum.
Transdimensional hand modeling provided by the HSS3jb (not hooked up to the Bleep Drum).
Specs:
- Four sounds, two with pitch control
- Four selectable sequences
- Record patterns just by playing them
- Tap tempo
- Reverse mode
- Hyper Noise 30XX mode
http://bleeplabs.com/store/the-bleep-drum/
OMD went to a Kraftwerk concert – “Incredible”
Kraftwerk’s opening show at the Tate; incredible, say OMD
This article is taken right of the BBC website, we own no rights to the content, enjoy 
The first of eight shows by German electro pioneers Kraftwerk has taken place at London’s Tate Modern. Among the 1,250-strong crowd were Andy McCluskey and Paul Humphreys, whose music with Orchestral Manoeuvres In The Dark has been heavily influenced by Kraftwerk. What did they make of the performance?
McCluskey described it as “the best multimedia arts project on the planet”.
“It gets better and better. I saw them three-and-a-half-years ago at the Manchester Velodrome and now that the whole show is in 3D, with surround sound, it’s incredible.
“It’s amazing that 40 years into their career, they’re still relevant.
“The whole remit of Kraftwerk, when they moved away from that early jazz krautrock roots, was that they were trying to get away from Anglo-American cliches. When I saw them in 1975 they had their names in neon lights and they had some projections.
“They were already quite minimal but they were moving away from the cliches. This now, with the whole show in 3D, is taking it to the nth degree, 30 odd years later. It’s a wonderful extra string on their bow.
“I have to admit… some of the songs reflect the fact that they are so distilled that it’s hard to put [visuals] to them, but for two hours the whole show was incredible.”
Fellow OMD member Paul Humphreys added: ” To move from concert halls into museums is the perfect move for them, because even from the very beginning they were performance art, except they were playing in concert halls.”
“They have changed a couple of things,” noted McCluskey.
“It’s noticeable that Radioactivity has now become an anti-radioactivity song. And Ralf is now singing in Japanese. We thought they’d changed some of the words to Man Machine – made it slightly more sinister and negative.
“Because the music is so highly conceptual they are able to mutate and twist it. They’re not going to play the exact same song with the same riff and the same lyrics, they can vary it and it’s quite an interesting concept,” he said.
“For us it was incredible to hear both comet melodies live. This is what’s incredible about this series of concerts. They are going to play tracks that they have never played live before. The Autobahn album – trimmed down – is not very long, so the rest of it was essentially their highlights, their greatest hits.”
Humphreys added: “They are one of the most important bands for popular music.
“People say the Beatles were the most important band to change popular music but I think Kraftwerk were. Their DNA has permeated the blood of bands since then. There’s parts of Kraftwerk in all the popular music today.”
Original article can be found here >>
Filterbank study
Processing the modular (Echophon Clock output) through a Max patch, then processing the Max patch through the modular (Z-DSP (Stereo Ping Pong delay program)), all controlled with a Korg nanoKontrol.
The Max patch is a bank of “reson~” objects, divided into values taken from the Buchla 296e, Serge Resonant EQ, Moog 914a, ADDAC VC Fixed Filterbank, Moog/Bode Vocoder and EMS 3000 Vocoder units, with both manual and automated control over each band’s amplitude (displayed as sliders).
The patch is mono in/stereo out, with each band alternating between the left and right outputs.
Barbed Lines Suite – Studio Electronics Boomstar 4075 Basics
Single track twisting and turning of the Studio Electronics Boomstar 4075 – nothing too fancy as requested – for the sole purpose of getting to know the structural tonality and flexibility of this ARP-filtered SE synth.
Direct Boomstar audio out .wav file link: http://studioelectronics.com/assets/A…
Jomox Akasha synth prototype at NAMM
Juergen of Jomox demonstrates the Jomox Akasha at the Big City Music booth at NAMM 2013.
More coverage at http://www.catsynth.com
‘TELLY-SCOPE’ – Circuit Bent Television with Monotribe
An old portable television which has been modified to respond to audio signals with glorious effect.
Beware, this is a dangerous project! However, if you’re willing to accept the risk then you can find instructions here – http://electro-music.com/forum/topic-…
Ade Fenton (Gary Numan producer) loves the Analogue Solutions Vostok synthesiser
Ade Fenton (Gary Numan producer) loves the Analogue Solutions Vostok synthesiser.
Loves the true analogue sound.
This demo features a variety of sound types and sequences (traditional and non-traditional) demonstrating the Vostok’s sound palette and variety of timbres. All sounds, with exception of the obvious acoustic drums (used for context), are created on the Vostok using either traditional patching or the pin matrix — or a combination of both.
Sounds are being driven by either the on-board sequencer, MIDI sync (via GATE to CLOCK), or direct MIDI connection to a controller keyboard.
Emphasis for this video was more traditional synth sounds (basses, leads, sequences) as there are plenty of non-traditional (fx, ambient, noise) sound demonstrations on YouTube. The filter section at the heart of the Vostok was also a focal point of this video and is tweaked extensively for the various sound types.
Also, see the Telemetry (mini Vostok) in action at the following link:
http://www.youtube.com/watch?v=rvo5x5G4YJg
KEY FEATURES OF VOSTOK Pure analogue voice circuitry. Suitcase style design. 22×22 matrix pin panel. Rugged Steel construction. Quality chrome catches and cool steel spring handle. Stuffed full of electronics. No front panel space is wasted. Joystick, retro-VU meter, MIDI, jack socket patch points, more, more, more!
The DSP Prophet 12 in action
Background video description:
A synthy cover of the M83 x Big Black Delta remix of Daft Punk’s “Fall”….using just the Prophet 12 splits and Tempest (in playlist mode). More music at http://peterdyer.net/
Once again, the creative and talented Carson Day jammed on this w/ me at Namm ’13, tweaking the Tempest live, but since no video emerged of it, I wanted to share the sounds, as it was an absolute blast to play, and I’ve got to hand it back for now. I’ll try to abstain from anymore Tron OST or covers of remixes for a while.
Simple Minds are back: Celebrate – The Greatest Hits – with 2 new tracks
Out on March 25th via Virgin Records is the 2 and 3CD set “Simple Minds – Celebrate – The Greatest Hits” holding with 2 new tracks. The release comes following last year’s “X5” boxset and the “5 X 5” tour. The 2 new tracks on this comprehensive overview of 35 years of one of Britain’s most successful bands are “Broken Glass Park” and “Blood Diamonds”.
Jim Kerr has a rather own way to describe the band’s career: “One of the things I’m most proud of is that people say to me what Simple Minds are you talking about? The avant-garde, the art-rock, the pop, the ambient, the instrumental group, the political, the folk, the stadium band? We’ve been on one hell of a journey. To play all those different styles but at the same time be quintessentially Simple Minds is an amazing thing.”
Via SL
DATAMASKIN
