A first go on deregulator the new iPad app by Ashshaosh Daa. The app is a delay/echo/reverb combo but with a twist…all components can be randomized to alter each/any setting over time.
the concept is very simple but in use it is a great way of creating mangled textures that recycle what you put in and spitit back out at you in new in interesting ways.
Deregulator it’s a mini-processor of stereo effects with Echo, Delay and Reverberator. Input signal goes to echo and delay simultaneously. Then delayed and echoed signal lands into reverberator. All parameters of this effects may be randomised at once and some key parameters can be randomised dynamically all time. On output we have wide effects range from simple mono echo/delay/reverb and combinations to near granulation live when remains of sounds create nebula around original input and like morning mist its blurring and smudging sound into scape of something new, vibrant and beautiful (degree of beautifulness depends on what you feed in D).
Delay just repeat sound pieces and size of every piece can be randomised, this chop and remix original sound into sometimes very glitchy, something new. Echo behaves like a usual echo unless you start randomising delay and feedback parameters. Reverb have three parameters, room size, damping and wetness of output. Off course all of them are randomisible. Randomising its a root of conception in this little app.
How it sounds like? Lets walk together to the border that splits effects from synthesisers where only granular with live input lives and question this line, she is exist? You must play with it or go to soundcloud(tag deregulator) for examples.
Go to look at instruction and detailed description on ckek.ru
+ Three linked effect module (Echo, Delay and Reverb)
+ Randomisers for every parameters of this effects
+ Ability to randomise all parameters at once
+ Recording of affected audio to wav
+ Share files to iTunes, AudioCopy 2, AudioShare
+ Audiobus of course
+ 25 non-factory presets slots
+ Universal app(Yeah, download once and run everywhere)
+ Audiobus 2 and all slots
Tested on iPhone 4s(iOS 6&7), iPhone 5, iPhone 5s, iPad 2, iPad New and iPod touch 4. And i don’t recommend run this app on something lower then 4s. On iPod4 lag is too big, Deregulator need ~100mb ram and more power in heart. iPhone 4s/iPod5 is recommended as low line to work comfortably.
How To Get Started With Vidibox for your iPad
vidibox is a new and different kind of video remixing app for iPad that lets users create real-time music and video projects from an intuitive drum pad interface.
It gives DJs, VJs, installation artists, digital storytellers, video mashup fans and music lovers the ability to express themselves easily with intuitive, professional quality video and audio mixing.
• Transparent drum pad interface. Slots can contain audio, video or both.
• Easy media import and arranging via drag and drop to slots.
• Audio and video can be imported separately.
• Play up to 16 tracks simultaneously, freestyle or quantized to the BPM.
• An automatic video composition engine displays multiple videos at once.
• Choose from several video composition layouts.
• Audio and video FX bank.
• Trim and organize media with simple, intuitive gestures.
• Hold, trigger or loop media.
• External screen support to display projects with the app hidden.
• Record videos of performances in real time and easily share them.
• Compress vidibox projects and share them on Dropbox.
• Audiobus support.
• MIDI in/out support via CoreMidi.
Mod Phon Ltd has introduced Voxen – a new voice synthesizer for iPad. Voxen is a voice synthesizer. It’s designed not for realistic text-to-speech vocal effects, but for creating synthesized ‘singing voices’.
Voxen is *not* a text-to-speech system. You cannot provide it with lyrics and expect it to sing them. Voxen is a synthesizer that acoustically simulates a glottis and vocal tract, allowing you to manually control the sound. It synthesizes sounds, not words.
Because a human voice is more complex than nearly any other musical instrument, a synthesizer of human voices is also very complex. To control one can require the real-time manipulation and coordination of dozens of separate parameters.
If you are looking for something that creates a musical performance from a piece of sheet music and some lyrics on a scrap of paper, hire a good vocalist. On the other hand, if you are looking some new and different sounds, use Voxen.
- Eight note polyphony
- Keyboard range of more than ten octaves
- Three X-Y touchpads
- Twenty-eight vertical linear knobs
- Choice of dark or light background colour
- Eight choices of foreground colour
- Save and load user-defined patches
Voxen is a polyphonic formant synthesizer. There are three banks of knobs which control, respectively, the voice, the voice envelope and the formants. The six voice knobs control provide a modified Klatt 1989 voicing source.
The ten voice envelope knobs control master amplitude and ADSR envelope for the voicing source and for a separate aspiration source. The remaining twelve knobs control the centre frequencies and bandwidths of the first four formants and the centre values and differences (spread) for a nasal formant/antiformant pair.
Each of the three X-Y touchpads controls a pair of parameters, f1 & f2, b1 & b2 and vibrato rate & vibrato depth.
Spectral tilt (or voice brightness) is controlled by the height you are touching the keys.
The overall aim of the user interface is to make it simple to control the many parameters in a live setting.
Voxen is available now for US $7.99 in the App Store.
This is a track that was made using the Scape iPad app by Brian Eno and Peter Chilvers. The track is made up of three recordings. The parameters were manipulated in real time during recording. The recordings were edited and manipulated in various ways for the sake of the composition. For example, some parts were slowed down, others were reversed. Some outboard effects were used in post production.
First jam using the Yamaha Tenori-on as a MIDI sequencer. The iPad (running Cubasis) and the iRig MIDI are working only as MIDI router and interface.
Primeira jam usando o Yamaha Tenori-on como sequenciador MIDI. O iPad (rodando o Cubasis) e a iRig MIDI estão funcionando somente como roteador e interface MIDI.
Final Touch – Maximizer – In this tutorial we introduce you to the Maximizer module in Final Touch for iPad.
Final Touch is a complete audio post production system for iPad. Combining Maximizer, Pre and Post Equalizer, 4-Band Dynamics, Stereo Imager, Reverb and Dithering into one integrated app, it gives your mixes a huge, balanced, polished and professional sound.
Download it on App Store: http://bit.ly/1iW4Bgl
Omenie has released M3000 Free Edition – a ‘freemium’ virtual Mellotron for the iPad.
M3000 Free Edition is a fully-functional recreation of Streetly Electronics’ M4000 tape-replay instrument. Compared to the full version, the app offers just 5 tapes from Streetly Electronics’ production library, all authentic mellotron voices. In-App Purchases allow the full voice set of the 50th Anniversary Edition to be downloaded, and many other voices as well.
Apart from the limited voice set included with the app, no functionality is removed in this free edition. MIDI and AudioBus is fully functional, including ‘Two Trons’ mode where 2 different MIDI channels can control the A/B/C and D voices.
M3000 Free Edition is a free download
A Tour and Demo of this amazing simulation of the classic synth from EMS, the VCS 3.
The VCS3 was created in 1969 by Peter Zinovieff’s EMS company. The electronics were largely designed by David Cockerell and the machine’s distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case.
The VCS3 was quite popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean Michel Jarre, Hawkwind, Brian Eno (with Roxy Music), King Crimson, The Who, Gong, and Pink Floyd, among many others. Well-known examples of its use are on The Who track “Won’t Get Fooled Again” (as an external sound processor, in this case with Pete Townshend running the signal of a Lowrey Organ through the VCS3′s filter and low frequency oscillators) on Who’s Next. Pink Floyd’s “On the Run” (from The Dark Side of the Moon) made use of its oscillators, filter and noise generator, as well as the sequencer. Their song Welcome to the Machine also used the VCS3. The bassy throb at the beginning of the recording formed the foundation of the song, with the other parts being recorded in response. The VCS3 was also a staple at the BBC’s Radiophonic Workshop, and was a regular (and most frightening) sound generator for the Dr Who TV series. Many fo the monsters and atmoshere;s created for the show came directly from the VCS3.
The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesizer systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together.
DK1 keyboard controller
Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972. Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released.
The first fully functional professional quality audio mastering application for iPad. For everyone who wants to take their final mixes to the next level. Precise control of all parameters and highest quality audio processing, the most important part of any mastering, is the base of this application.
More about Audio Mastering:
Track “Spiel Struktur 92″ by Marc Bestgen
Monoplugs has announced the release of B-Step Sequencer for iPad, a melodic, chord based step sequencer inspired by a bass guitar.
The sequencer comes with native support for one or two Novation Launchpads. B-Step supports CoreMIDI, Virtual MIDI ports, Network MIDI and a lot of MIDI hardware devices. It also supports MIDI Learn, so you can control B-Step’s user interface with any MIDI controller you like.
B-Step can work as MIDI clock master or you can sync it to another clock master.
B-Step Sequencer for iPad features
- Native Novation Launchpad support.
- Advanced MIDI learn.
- 3 color profiles.
- Clean and simple user interface.
- Run in background.
B-Step Sequencer for iPad is available for purchase at the introductory price of $16.99 USD until May 15th, 2014.
B-Step on iPad controlled with a Novation Launchpad MINI and the black Micro Kork produces the sound. This is a blues chord progression and I’m just edit one bar that i copy every loop to the others and playing around with some octave shifts. You can get B-Step Sequencer for Linux, Windows, Mac and iPad as VST plugin or standalone.