Collection of video demos featuring the Xotica BX-1. This is one of a few hand crafted boutique guitars built by Xotica, and custom guitar shop based in Kenosha, WI. Features of this guitar include a Roland GK-3 pickup, Buzz Feiten tuning system, Sperzel locking tuners, Baby Grand Hip Shot bridge, Rockfield pickups and a Honduras Mahogany body with g\orgeous Fiddle Back Maple binding.
“Kokoni Iruno(I’m Here)”- Musuki Aruvavo Lee & Yuichi Onoue
“ここにいるの” by ムスキ・アルバボ・リー ＆ 尾上祐一
Written by Musuki Aruvavo Lee
Musuki Aruvavo Lee – Vocal , Guitar
Yuichi Onoue – Handmade Ribbon Controller
Live at Kouenji Muryoku-Muzenji on June 29th 2011
Special Thanks to Mr.Fujiemon(Austin Records)
More Musuki Aruvavo Lee’s Video
There have been lots of requests for showing the misa kitara connected to an external software synthesizer via MIDI:
“So in this video I have connected the kitara to my PC running my favourite open source synthesizer – zynaddsubfx (I recommend checking it out, it has some really interesting features). Also in this video, I show you how to sustain notes – you just drag upwards and any strings you have pressed down will not stop playing when you release them. Pressing another button on the string will set the sustained note to the newly designated one.
Also you can see “tap mode” in this video, where the screen is red. in this mode you can press the buttons on the neck and hear a sound, without pressing the touchpanel. it’s good for two handed tapping technique (although you can see how important using the touch panel is to re-attack the notes you are playing).
ps. use headphones if you want to hear the bass!! ”
Quick demo of the You Rock MIDI guitar triggering a Moog Slim Phatty. Monophonic fun!! The Little Phatty is a true analog monosynth in every sense: it’s a monophonic, monotimbral, monaural subtractive synthesizer with analog circuitry throughout. Ideal for beginners and pros alike, the LP puts every parameter right at your fingertips…
Based on the powerful Little Phatty sound engine, the Slim Phatty is the latest descendant of the iconic Minimoog Model D and features the classic Moog Ladder Filter, the touchstone of analog sound design.
In addition to shaping the sound of its on-board oscillators, the Slim Phatty’s filter is a valuable production tool that can be used to process external audio, sweetening your favorite audio source with everything from smooth analog warmth through wet, resonant filter sweeps.
The Slim Phatty’s convenient size makes it an ideal voice expander for your existing gear, with two oscillators of massive Moog sound that are always just a MIDI cable away. A new Tuning Scale feature and editor allows easy exploration of alternate scales and tunings. Microtonal, just intonation, quarter-tone, world music scales and more make the Slim Phatty an international traveler. Good thing it has a universal power supply!
In addition to the world of MIDI and USB gear, the Slim Phatty’s Control Voltage inputs give it unlimited realms of expression and sound design possibilities. “Modular synth” style patching with Moogerfooger effects processors, the CP-251 Control Voltage Processor and other Moog synths (even The Moog Guitar!) creates soundscapes previously available only on large modular systems. Connecting to the Etherwave Plus Control Voltage Theremin or the MP-201 Multi-Pedal adds unique and intuitive new modes of expression.
The ever so persistent AfroDJMac is yet again here with a new rack for Live:
Using my Fender Mustang electric guitar, I sampled all the harmonics on each string at the 5th, 7th, and 12th frets. From there I brought it into Ableton Live and created a pretty cool sounding instrument. Enjoy!
Download it here: http://bit.ly/freesynth20
I’m very excited to be bringing you the 20th Free Weekly Ableton Live Rack: “The AfroDJMac Guitar Harmonics Synth.” It’s been really great bringing you these racks every week, and today is a special one, not just because #20 is something of a milestone, but also because it happens to be my birthday Thanks to everyone who keeps coming back every week and to those who have been so instrumental in spreading the word about this project. Alright let’s get down to business.
So, I’m currently enjoying a visit from my family, including a surprise visit by my two little nephews. The eldest one, Sam, is five and when he got to my house and saw some of my musical instruments, he told me he was “really good at music.” So I took him into the basement studio and after he banged out a beat on the drums, I gave him my Fender Mustang. It was a lot of fun seeing the sense of discovery and innocence in his eyes as he banged away on the guitar, unaware that his left hand not only had to touch the stings, but also press them down on the fretboard. By just placing his hands over the strings, he was actually producing some nice harmonics for a few seconds, and that inspired me to create this rack. (If you are not sure what I mean by “Guitar Harmonics” check out this link).
This weeks rack was created by sampling the harmonics produced by each string at the 5th, 7th, and 12th fret. The instrument comes set up with a macro knob that allows you to switch between the different samples, each of which has its own unique character. This allows for some cool effects, such as holding the sustain pedal and changing the sample while you play, which creates an interesting morphing timbre. There’s a macro knob that reverses the samples, creating a swelling, somewhat glitchy sound, not unlike those from some of my favorite psychedelic Beatles tracks (or my 3rd Ableton Live Rack: Reversed Piano”). I’ve also been experimenting with the Grain Delay plug-in more and more these days, and there are some macro knobs to control that effect. Check it out and have fun! PS. If you are not a Live user, you can still use the samples included in the download.
Here’s some background information on the pedal. DigiTech’s iPB-10 is a guitar effects pedalboard like no other, for as well as offering footswitches and an expression pedal, it also contains a dock for an iPad. You can use this to set up your ideal rig – choose from 87 pedals, 54 amps and 26 cabinets – though all processing is done in the ‘board itself.
It’ll be available imminently priced at £499.
The iPB-10 allows you to create your ultimate pedalboard, all on your iPad. Design a pedalboard by simply dragging and dropping up to 10 different pedals, in any order, to each pedalboard. You can even add an amp and cabinet to each setup. With 87 different pedals, 54 amps, and 26 cabinets to choose from, your options are virtually unlimited. Simply swipe your finger across the iPad to rearrange your pedals, turn them on and off, or to adjust their knobs.
Traditional multi-effects have given you the flexibility to change the entire configuration of your signal chain with a single footswitch. The iPB-10 brings the concept of presets to a pedalboard. This allows you to save 100 of your favorite pedalboards with the touch or your finger, and instantly recall them with the stomp of your foot. You can have a different pedalboard for each gig, set, song, or even switch pedalboards within a song.
The Octasynth uses square waves, suboctaves and a resonant low pass filter to create thick creamy gritty synthy goodness
This pedal with streamlined controls converts your guitar signal in to three octaves of square waves singing in unison, then sends them through a resonant filter. The end result is reminiscent of a vintage analog synthesizer… or in some cases a malfunctioning analog synthesizer.
The Octasynth reacts to your guitar and playing style. Tracking is usually best with the neck pickup. For some guitars it may help to roll the treble back a little too. Some experimenting with your playing style may be needed to really get full use out of this pedal. Palm muted runs can yield anything from funky bass stabs to staccato sequences. Let the notes ring for some sub bass thump or dreamy filter sweeps.
The Octasynth takes a “blunt instrument” approach to create synthesizer sounds. The filter is controlled by the depth knob AND how hard you pick each note. As a note fades away the filter sweeps lower and lower. This can trail notes off gracefully with the right settings and playing style.
The Octasynth is 100% analog. The Octasynth is MONOPHONIC. It will only track one note at a time. Power chords can sometimes create a musical, but glitchy effect. Diminished 9th chords… not so much. They just splatter and make a mess. Don’t try this on the carpet.
The Octasynth’s controls are tailored to creating a sound quickly. No endless tweaking required.
Blend- A mix control for 3 octave voices. To the left, two octaves down. To the right, one octave. In the center a mix of all three.
Depth- The range of the filter. As this knob is turned to the right each note you play pushes the filter cutoff frequency higher. This control can be a bit touchy, especially in the lower range. When turned all the way down the filter stays below audible frequencies (i.e. there will be no sound at all.) It needs to be turned up at least a little bit for any audible effect. This design allows the filter to trail off to ultra low frequencies, which can make notes trail off gracefully rather than sputtering out.
Res- Resonance/Feedback for the filter. Turned to the right the cut off frequency of the filter is intensified. Turned all the way to the right the filter will approach near oscillation.
Level- Total output volume.
The Octasynth is tuned for electric guitar. We do NOT recommend the Octasynth for use with Bass guitar.
Here’s AfroDJMac’s new free weekly Ableton rack featuring the fender guitar.
Here’s two instrument racks created using screeching feedback from Fender Mustang and Jag-Stang guitars, played through sea-foam green Fender Deluxe. Surprisingly, despite coming from such a loud and wild source, these racks are fairly mellow and reminiscent of a vintage keyboard. In the video, it is also shown how the racks work and take you through the effects. Also spend a little time explaining the mapping of the racks.
Download the rack here: http://bit.ly/freesynth15
One of my favorite sounds is that of a distorted electric guitar as it begins to screech into blazing feedback. It’s very unpredictable, wild, and difficult to control. The overtones and harmonics it creates are hard to replicate with any other instrument. For this weeks Ableton Live Rack installment, I sampled some feedback from my Fender Mustang and Fender Jag-Stang coming out of my sea-foam green Fender Hot Rod Deluxe.
Sometimes the results are surprising when you create a sampled instrument, and this is one of those unexpected outcomes. The resulting instrument sounds more like a vintage keyboard with some rich harmonic content than a screeching guitar. Also, the actual guitar used makes quite a big difference as well, so I’ve include two racks this week, one created with the Mustang and one with the Jag-Stang. I added effects that I thought were useful to the sounds, Lo-pass Filter, Tremolo, Vibrato, Chorus, Reverb, Flanger, and just to dirty it up a bit, Vinyl distortion, which can be mix to taste. Enjoy, and as always, send along word of any music you create with this or any of these racks.
Tegan and Sara re-envision their single “Living Room” from their album entitled “If It Was You,” filling it with Moog Guitars and the ultra low end of the Taurus 3 Bass Pedals. Sara uses the Full Sustain mode on the Paul Vo Collector Edition Moog Guitar to create swooshing string pads to accompany Tegan’s upbeat acoustic guitar.
Ted Gowans uses the E1 Moog Guitar in a couple of ways: He’s using Mute mode during parts of the versus that give a real staccato feel, then switches over to Controlled Sustain where energy is given to just 1 or 2 strings at a time.
Shaun Hubert makes use of his hands and feet with the Taurus 3 Bass Pedals, bringing a massive low end growl to the song. There’s also an Etherwave Plus Theremin being used to sweep the Taurus 3′s filter via the CV output on the theremin.
See other Moog Sound Lab performances: http://www.moogmusic.com/sight-and-sound/sound_lab
Jacques returns with some more creative ways to control Native Instruments Prism synth. Using a Starr Labs Ztar Jacques can control any number of parameters found within this soft-synth, such as decay, harmonic ratios, delays, FX, tempos etc. he’s easily programmed the touch pads, ribbon, joystick, and volume knob to interact with Prism, allowing for quite an expressive and creative journey into sound!