Microsoft has unveiled the second-generation range of its Surface tablets, most notable amongst these is the Surface Music Kit, a new pressure-sensitive keyboard and software bundle specially designed for remixing and DJing.
Joe Hahn explains why the Surface Music Kit is an easy way to start remixing music the way you want.
Whilst full spec details of the kit are yet to be revealed, according to Microsoft the software allows users to import music, BPM sync tracks, create loops and play around with samples and virtual instruments.
The kit was unveiled at Microsoft’s Surface launch event, at which the company also introduced the new Surface 2 and Surface Pro 2 tablets. Both touchscreen units benefit from increased processing power, longer battery life and improved display and camera resolution.
All are set for release 22 October, no word on the Music Making Kit price yet, but Surface 2 configurations will start at £359/$499 and Surface Pro 2 at £719/$899.
Here is an attempt to recreate Heliosphan by Aphex Twin.
All of the sequencing was done one the Yamaha RS-7000 and all sounds came from the Waldorf Micro Q Keyboard in multimode. The purpose of this recreation was to better understand complete compositions, mixing, and layering synthesizer sounds. It was also done for the sake of pushing programming skills and pushing the limits of the Micro Q.
Most often synthesizers are used to about 10 percent of their potential because they are not programmed correctly or used multitibrally.
Vicmod meet, Cyclone TT303 BASSBOT VS TB303 Devilfish There is an x0xb0x too.
All sounds & instruments are from WaveRunner, which will be released on August 1st. Additional drums from PlugSound Pro.
A multitude of synths, drum machines and rare prototypes of esteemed German heritage come together in this massive and unparalleled retrospective. WaveRunner presents you with a wondrous collection of authentic and fascinating sounds from over 30 years of wavetable synthesis. Everything from the raw and strident origins to the wild evolving tones of more modern, full-featured machines. Each system addressed was serviced, meticulously multi-sampled and artfully designed into 7 unique hybrid instruments driven by over 30,000 samples. Both a historical archive of sound and a collection of new and unique instruments with hundreds of presets and limitless sound design potential, WaveRunner is a suite not to be missed.
WaveRunner includes 7 instruments:
Based on a very old and quite rare machine, WaveRunner 360 delivers a raw and lo-fi sound. Explore the origins of wavetable synthesis and let loose with ripping vintage timbres.
WaveRunner Terminal D
Including sounds from vintage prototype drum modules, synths and modern rack drum synths, Terminal D is an uncompromising drum machine with an impressive range of sounds and easy to use interface.
WaveRunner Terminal U
Built on a generous collection of sounds from the entire range, Terminal U is a powerful and dynamic multitrack phrase sequencer capable of generating everything from tight rhythmic chains to wild and evolving passages.
Based on the original German blue, WaveRunner 2.0 delivers an uncommonly warm and vintage tone from an often overlooked classic known for its amazing analog filter.
Similar to the 2.0 but with a distinctly different flavor, WaveRunner 2.3 is built on the upgraded German classic and its loquacious programming pal.
Based on the modern flagship wavetable synthesizers famed in the ’90’s and ’00s, WaveRunner Orange delivers the modern sound of wavetable synthesis covering the gamut from lush bells to violent and evolving tones.
An extraordinary collection of raw waves harvested from the entire range of machines come together in this fresh and powerful dual-layer subtractive synth; capable of deep, modulating ambiances, brutal basses and uncanny leads.
*PPG and Waldorf are trademarks of their respective owners and are not affiliated, endorsed, connected or sponsored in any way to this website or any of our affiliate sites ; therefore do not be confused between UVI and PPG or Waldorf.
Dan-D plays around with Effectrix on his latest track!
Effectrix is an advanced effects sequencer, or perhaps I should say was since it appears you are not able to purchase it anymore if you go to Sugar Bytes homepage…
Sugar Bytes describes Effectrix as “as a musical instrument with lots of possibilities for different expressions of existing material. Sounds of any kind can be transformed to exciting beat structures and soundscapes.”
Effectrix lets you do advanced looping – loops can also be scratched, stretched, reversed or modulated in loopsize and pitch.
For more information on Reason:
When Adam and his brother tried programming their own computer games as kids his own attempts were terrible. Fortunately however, the music Adam made for those games using ProTracker software on the old Atari ST computer wasn’t terrible. In fact, it was so good he quickly outgrew what he could achieve on such a basic set up. After a recommendation from a friend and seeing the rack cables in action for himself, Adam was quickly a Reason user and now even pushes Reason to its limits with his epic full-bodied synth soundtracks.
After a couple independent releases, Adam Fielding’s music caught the attention of Distinctive Records in the UK who promptly signed him for those and future releases. Now Adam splits his time between producing his own albums and soundtracks for TV and film use.
We caught up with Adam to check out how he builds up his ideas and arranges them in Reason using Blocks.
Project Genesis appears with permission from Conspiracy – www.conspiracy.hu
RB1robotto demo video 1
Basic configuration, manual playing of the robotic singer and connection to pitch, gate and modulation sources.
Keyboard playing of the module.
RB1robotto is a voltage controlled singer, an irresistible source of pitched vowels, and much more. The product, the first in our line, was born as a sunday afternoon project, by putting together our modular, ad arduino board and a speech chip. The blending of the ‘voice’ with the noises, tones, and buzz from the modular was so good that we built a company around that.
Now, the production unit is real. Lush steel panel with thick silkscreened prints and deep red tones. You control the ‘voice’ of the robotto with your well known CV sources. Pitch and Gate are the usual dishes, accompanied by vowel and consonant control. Each of those are playable also by hand, and there is a manual gate too, ORed with the jack input.
Blue Beat is a collective, collaborative, choreographic, giant orchestra. By moving over the instruments, registered by a camera, different sounds are triggered from a music computer. At the same time a video beamer mapped to paintings on the wall lit up as a visual reference for the performers. Blue Beat is a part of the Mini Maker Space project at Sweden’s National Museum For Technology And Science and one of 3 projects invented and built by Håkan Lidbo and a team of collaborators. Per-Olov Jernberg did the programming and built the electronics, Tom Walston did the paintings and Frida Vega Salomonsson took the photos in the film below. The project can been experienced at the museum June- December 2013.
For more information:
Anything can be used to make beats, just using your imagination!
eBook – http://howtomakeverysickbeats.com/hip…
I decide to test myself with using only sounds from the iphone and a familiar breakbeat.
This video is a nice introduction to dodecaphonic music theory
Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951). The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, an ordering of the 12 pitches. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. The technique was influential on composers in the mid-20th century.
Schoenberg himself described the system as a “Method of Composing with Twelve Tones Which are Related Only with One Another”. However, the common English usage is to describe the method as a form of serialism.
Schoenberg’s countryman and contemporary Josef Matthias Hauer also developed a similar system using unordered hexachords or tropes—but with no connection to Schoenberg’s twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg’s method is considered to be historically and aesthetically most significant.