“Battle Extreme” is the newest Die Krupps video which has now available online. The track is taken from the album “V – Metal Machine Music”.
“V – Metal Machine Music” will be out by mid-September, but available right now in pre-order as a limited 2CD set. The 13-track album comes accompanied by a bonus disc featuring demos and reworks.
“Battle Extreme” taken from the album “V – Metal Machine Music”.
Picture credits: Franz Schepers / Eric Debris / Frank Buttenbender
Artwork: Sascha Osterland
Video created by Kyrill Kulakowski
Set myself a small challenge to see what I could create in Caustic in one hour – this is it. Shows the potential of Caustic.
The Crudman, above, is based around a Walkman which has been elaborately hacked so that a tape of a looped or droning sound (or any other sound) can be precisely sped up or slowed down, via MIDI or 1v/octave CV, to accurately hit notes over a range of 3 octaves.
The Crudman can be used monophonically, or multiple Crudmans can be used polyphonically.
The Crudman can be played just like a synthesizer with MIDI or CV in. Standard synthesizer parameters – ADSR, pitch bend, portamento, can also be set using MIDI Control Change messages.
To use, put in a tape tuned to C, and you can play all the way from C two octaves down, to C one octave up – 3 whole octaves.
While the concept is simple, the developer says that a great deal of research and experimentation has gone into building the most powerful cassette Walkman instrument possible.
More info on their site.
Red Rock Sound has released their new RED70 Electromusical Synthesizer for Reason. They say that it is not an attempt to recreate any specific model of analog synth but based on several classic synths.
Red 70 is available now in the Propellerhead Shop for US $49. Details below.
1. OCTAVE determines the pitch base. (two octave down and two octaves up from the main).
2. BAND Frequency band regulator.
3. XMOD Cross-modulation of the Frequencys of 2 Oscillators.
4. WAVEFORMS Four waveforms (sine, triangle, saw, pulse) with the ability to activate all of the waveforms simultaneously.
5. PULSE WIDTH controls the pulse width. (Pulse waves only)
6. SYNC synchronizes the triggering the OSC 2 waveform by the rate of OSC 1. When activated, OSC 2 BANDS controls affect only OSC 2 timbre, not its pitch.
7. OCTAVE determines the pitch base. (two octave down and two octaves up from the main)
8. BAND Frequency band regulator for each waveform separately.
9. DETUNE detuning of oscillator 2 relative to the oscillator 1.
10. WAVEFORMS Four waveforms (sine, triangle, saw, pulse) with the ability to activate all of the waveforms simultaneously.
11. PULSE WIDTH controls the pulse width. (Pulse waves only)
ADDITIONAL OSCILLATORS & MIX SECTION
12. OSC1 LVL level control for the OSC1.
13. OSC2 LVL level control for the OSC2.
14. NOISE LVL level control for the noise generator.
RETRIG controls envelope re-triggering. When activated, every note restarts the envelopes. (mode is clearly audible with 1-2 voices) In contrast to the RETRIG mode where every new note rearticulates the sound by restarting the envelope generators, in LEGATO mode the envelopes are not re-triggered if the new note is played “legato” (with the previous note still depressed). This causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching the sustain stage remain there until the final note is released.
16. GLIDE determines the pitch sliding from one note to another.
FILTER X (Pre-filter, located ahead of the main filter.)
17. This switch selects a sound source to be processed by the filter: – OSC1 – OSC2 – NOISE – OSC1 + NOISE – OSC2 + NOISE – OSC1 + OSC2 – OSC1 + OSC2 + NOISE
18. MODE determines the filter type: – High Pass – Band Pass – Low Pass
19. CUTOFF controls the FILTER X cutoff frequency.
20. RES controls the amount of filter resonance.
21. MODE determines the filter type: – High Pass – Band Pass – Low Pass 1 – Low Pass 2
22. CUTOFF controls the VCF cutoff frequency.
23. RES controls the amount of filter resonance.
24. ENV determines the envelope’s cutoff modulation depth. (You can set positive or negative values)
25. ADSR determines the filter’s envelope cutoff behavior after a note is triggered. – A (Attack) – D (Decay) – S (Sustain) – R (Release)
26. AD MODE The ADSR envelope switches to repeating Attack-Decay envelope.
27. VEL sets the envelope depth in relation to the Note On velocity.
28. ADSR The VCA envelope controls the note level from trigger to release. – A (Attack) – D (Decay) – S (Sustain) – R (Release)
29. AD MODE The ADSR envelope switches to repeating Attack-Decay envelope.
30. VEL sets the envelope depth in relation to the Note On velocity.
31. ADSR The ADSR envelope generator that can be freely assigned to selectable destinations via the modulation matrix. – A (Attack) – D (Decay) – S (Sustain) – R (Release)
32. AD MODE The ADSR envelope switches to repeating Attack-Decay envelope.
33. VEL sets the envelope depth in relation to the Note On velocity.
LFO 1 (Tempo Synced)
34. SPEED controls the rate of the synced LFO, linked to the project BPM.
35. MODE offers four waveforms: – Triangle – Pulse – Noise – Sample & Hold
LFO 2 (Free)
36. SPEED controls the frequency of the free LFO.
37. MODE offers four waveforms: – Triangle – Pulse – Noise – Sample & Hold
MOD CV 1
38. This DISPLAY shows a graph CV signal coming through the input connector MOD CV1 on the back panel.
39. TIME SCALE controls speed of displaying information on the display (it does not affect the rate of modulation).
MOD CV 2
40. This DISPLAY shows a graph CV signal coming through the input connector MOD CV1 on the back panel.
41. TIME SCALE controls speed of displaying information on the display (it does not affect the rate of modulation).
42. SOURCE determines the modulation source.
43. AMT sets the amount by which the modulation source affects the destination. Both positive and negative Amount values can be set (+/- 100%).
44. DESTINATION determines the destination for the modulation source.
The PITCH BEND and MODULATION WHEELS
45. PITCH RANGE sets the range of the Pitch Bend action.
46. PITCH WHEEL is a control on a synthesizer to pitch bend (portamento) — to vary the pitch in a continuously variable manner.
47. MOD WHEEL is a modulation wheel assigned as a source in the modulation matrix. (The Modulation wheel can be set to simultaneously control a number of parameters.)
GLOBAL and OUT SECTIONS:
48. VOICES determines the number of voices you can play simultaneously. The maximum number of voices is 8.
49. PAN SPREAD controls pan spread for the voices (not oscillators), when set to 0% all voices are centered. When you increase the Pan Spread the voices will begin to pan more and more to L/R in an alternative manner (i.e. If Voice 1 is towards the LEFT, then Voice 2 will go towards the right, etc). At 100% the voices will be panned hard L or R in this manner.
50. VOICE DETUNE determines the detuning of the voices in correspondence to each other.
51. UNISON is a mode in which several voices in the synth are assigned to play a single note.
52. TUNE controls global tune.
53. LED indicator for left & right outputs.
54. VOLUME is the main volume control for left & right outputs.
55. Patch browse.
56. Standard Note On indicator.
RED70 has 2 outputs: LEFT and RIGHT stereo outputs.
SEQUENCER CONTROL INPUTS
The Sequencer Control CV and Gate inputs allow you to play RED 70 from another CV/Gate device (e.g. a Matrix or the RPG-8). The signal for the CV input controls the note pitch, while the signal for the Gate input delivers note on/off along with velocity.
CV MODULATION INPUTS
Two CV Inputs (MOD CV1 and MOD CV 2) can receive CV from external sources that will be available as Sources in the Modulation matrix. You can monitor the form of the incoming signal on the displays (38, 40) on the front panel.
- The LFO Speed allows CV to control the speed fo LFO1 and LFO2.
- The Main Filter allowsCV to control the CUTOFF, RES and ENV.
- The Filter X allows CV to control the CUTOFF and RES.
MODULATIONS traces the evolution of Electronica music as one of the most profound artistic developments of the 20th century!
Tosh from Wij Productions take a look at Cakewalk’s new do-it-all virtual instrument.
Learn about using Patterning’s standard loop mode to create sequences.
For more info:
Learn more mixing techniques on our diploma courses :: http://ow.ly/Qie8z
Point Blank is The Global Music School, with courses in London, Los Angeles and Online. Voted ‘Best Electronic Music School’ by DJ Mag, learn Ableton or Logic via our online courses or in our state-of-the-art studios in London or LA :: http://www.pointblanklondon.com
New iOS drum machine, all details below:
As beautiful as it is powerful, Patterning is a deep and flexible drum machine unlike any you’ve encountered before. With its elegant circular interface, Patterning transforms the iPad into a seriously inspiring tool for making beats.
Create dynamic drum patterns with the swipe of a finger. Make evolving, poly-metric rhythms, four-on-the-floor dance party jams, or laid back R&B grooves. Use Patterning’s independent loop settings to explore untapped rhythmic possibilities. Automate parameters to create intricate & complex beats. Arrange patterns on the timeline to construct songs. Use the built-in effects–delay, reverb, distortion, and 3-band EQ–to add atmosphere, shimmer and noise. Connect to other apps with Audiobus, Inter-App Audio, and MIDI.
Patterning comes loaded with classic drum machine samples as well as exclusive drum kits created and curated by contemporary producers and musicians. For the independent producer, it’s easy to create custom kits with your own samples.
With an extensive and uncommon feature set, Patterning redefines what an iOS drum machine can be.
Recommended for iPad 3 and newer.
For a complete list of specifications, please visit http://www.olympianoiseco.com/apps/patterning
The Bob Moog Foundation has launched a raffle for a much sought after vintage Minimoog synthesizer.
Proceeds from the raffle will benefit the Foundation’s educational and historical preservation projects. Tickets to enter the raffle are $20 each, or 6 for $100 and can be purchased through the Foundation’s website: http://bit.ly/MinimoogRaffle2015. The raffle, which is open internationally, closes at midnight on September 30, 2015. Only 2,000 tickets will be sold.
The Minimoog Model D being offered, serial number 2120, was built at Moog Music’s Williamsville, NY factory in the early 1970s. It is in excellent technical and physical condition and has been serviced by a technician with expertise in Minimoogs. The instrument has been modified, although the modifications have been disabled to preserve and maintain the integrity of the instrument.
The Minimoog Model D is widely regarded as the most iconic synthesizer of all time, and was so recognized in an international voters’ poll by SonicState.com. When released in 1970, it represented a musical and technological revolution due to its combination of portability, affordability, accessible user interface, and innovative sounds and functions. Its robust construction has allowed the instrument to withstand the test of time. Minimoog Model Ds are coveted by synthesizer enthusiasts and regularly sell on eBay for $4,000-$7,000.
The raffle closes at midnight on September 30th, 2015.