In this video Arjen Schat demonstrates how to create flute sounds with the Moog Little Phatty. He starts from the calibration patch (CA CALIBRATION) as usual and create a flute sound as he goes.
In this video Arjen Schatt demonstrates how to create bass sounds with the Moog Little Phatty. He starts from the calibration patch (CA CALIBRATION) as usual and create a bass sound as I go.
In this video Arjen Schat demonstrates how to create lead sounds with the Moog Little Phatty. Arjen starts from the calibration patch (CA CALIBRATION) again and create a lead sound as he goes. Quick note: He syncs the oscillators to get a sharper sound. For a wider sound you can leave the oscillators un-synced.
Clothing sounds synthesized using the approach from our SIGGRAPH 2012 paper, and PhD thesis work by Steven S. An.
Steven S. An , Doug L. James, and Steve Marschner, Motion-driven Concatenative Synthesis of Cloth Sounds, ACM Transactions on Graphics (SIGGRAPH 2012), August 2012.
Abstract: We present a practical data-driven method for automatically synthesizing plausible soundtracks for physics-based cloth animations running at graphics rates. Given a cloth animation, we analyze the deformations and use motion events to drive crumpling and friction sound models estimated from cloth measurements. We synthesize a low-quality sound signal, which is then used as a target signal for a concatenative sound synthesis (CSS) process. CSS selects a sequence of microsound units, very short segments, from a database of recorded cloth sounds, which best match the synthesized target sound in a low-dimensional feature-space after applying a hand-tuned warping function. The selected microsound units are con- catenated together to produce the final cloth sound with minimal filtering. Our approach avoids expensive physics-based synthesis of cloth sound, instead relying on cloth recordings and our motion-driven CSS approach for realism. We demonstrate its effectiveness on a variety of cloth animations involving various materials and character motions, including first-person virtual clothing with binaural sound.
Available now for iPad
Scape makes music that thinks for itself. From Brian Eno and Peter Chilvers, creators of Bloom, Scape is a new form of album which offers users deep access to its musical elements. These can be endlessly recombined to behave intelligently: reacting to each other, changing mood together, making new sonic spaces.
Can machines create original music? Scape is our answer to that question: it employs some of the sounds, processes and compositional rules that we have been using for many years and applies them in fresh combinations, to create new music. Scape makes music that thinks for itself.
- Brian Eno, Peter Chilvers
Includes 15 original scapes
Scapes can be saved into a gallery and added to a playlist
Plays in background of other apps (excluding iPad 1)
Generates random scapes
Scapes can be shared by email
Supports AirPlay and Retina display
Headphones or external speakers recommended
Synthesiser, found sound, bells, bass guitar, strategies, images, art direction
Synthesiser, chapman stick, structures, probability networks, additional images, software design
Impaktor is a drum modeller from Beep Street (www.beepstreet.com) that uses the mic input as an impulse to generate and trigger drum synthesis.
“I started playing it on my desk, then triggered by my tabla, and finally with TC-11 alongside.”
It has been a while since I uploaded my last video for obvious and sometimes not so obvious reasons. But last night this dreamy piece came up and I want to share it with you.
The music is dedicated to my beloved girlfriend Anne. On 9/11 we celebrated our second anniversary together. She means everything to me and I hope we can live together for a very long time.
The piece starts with two 8 step sequences from rows 1 and 2 of the Synthesizers.com Q960 sequencer. The 2 rows are manually alternated using the Q962 sequential switch. Row 3 of the Q960 sequencer modulates the Ian Fritz 5Pulser. After that the Nord Wave comes in and then an 8 step sequence from row 2 on the Doepfer MAQ16/3 driving the self build Modular. The Pipe Organ preset from the Korg PE-1000 is used to play the chords. The solo is performed on the Nord Lead 1. Anne used my iPhone 4 to film this video.
You can download/see/hear the video and music from my website.
This tutorial is intended to help people who are already familiar with synthesis, to get more out of PPG WaveGenerator! If you haven’t already you should watch Wolfgang’s tutorials: http://www.youtube.com/user/PPGWavegenerator
Visit the site for more Music App News, Reviews & Tutorials: http://discchord.com
This lesson explores wavetable synthesis and looks at different ways of playing with Animoog. This should be helpful for people using PPG Wavegenerator and other wavetable synths too! Visit the site a free pack of Animoog Timbres and details on how to make your own: http://discchord.com/blog/2012/8/25/official-unofficial-animoog-timbres-plus-…
Wavetable synthesis was pioneered by Wolfgang Palm in his PPG synths of the 70s and 80s. With wavetable synthesis, a library of relatively complex wave shapes, rather than sine, square or triangle waves, are used as building blocks of sounds. Dynamic sounds can be created by mixing or morphing between different wave shapes.
Note that Moog calls the heart of Animoog its ‘Anisotropic Synthesis Engine’, which combines elements of wavetable synthesis and subtractive synthesis. Animoog lets you animate the modulation of your wavetable source(s), and then lets you filter the result with virtual-analog filters.
A brief guide to sound synthesis / how synthesisers (synthesizers) work. Using a Doepfer A-100 modular synthesiser, I demonstrate CV pitch and gate signals, oscillators, attenuators, mixers, ADSR envelope generators and filters.