New software synthesizer for the iPad
Way Out Ware has introduced SynthX, a new software synthesizer for the iPad.
Features:
- Intuitive XY mode automatically makes every touch tuned to the selected scale;
- Grid mode where you explore harmonies in a fun new way;
- Keys mode that provides a standard piano keyboard;
- Large and professionally designed sound library.
- An effects chain including distortion, flanger, delay and limiter are included. Additionally, a separate identical effects chain is provided to process an external signal connected to the iPad’s audio input.
- Ccomprehensive MIDI implementation using CoreMIDI, including MIDI Note send and receive and MIDI Beat Clock LFO sync.
- Record your performances within SynthX
- Sonoma Wireworks AudioCopy support
SynthX was developed by Jim Heintz, who’s behind several well-respected software synths, including TimeWARP 2600.
Virtual Swarmatron as used by Trent Reznor
reFuse Software has released a new, free synthesizer called The Swarm. Here’s what they have to say about it…
This project was inspired by the Swarmatron, a hardware drone synth, handmade by Dewanatron.
It was the Swarmatron that created many of the buzzing clouds of anxiety-provoking noise used by Trent Reznor in his Oscar-winning score for “The Social Network”. Since we were curious what it would be like to play such an instrument, yet didn’t have the $3200 laying around, we thought we’d build something like it in software, and share it with you.
The Swarm is released as an OS X standalone application only. It is not available as a plug-in, but the audio output of the The Swarm may be sent to ReWire-compatible host applications.
Pricing and Availability:
Free download
More information:
Learn to make your own Max for Ableton live synths!
How To Build A MIDI Synth In 60 Seconds With Max For Live. Yes, it’s basic, monophonic, and limited to sin waves, but I challenge you to create a velocity sensitive synth in less than 1 minute with fewer max objects!
I’m going to add features in future tutorials, including polyphony, other waveforms, filters, envelopes and much more, so subscribe and tune in! Will include modulation for that dubstep/DNB wobble of course!
Via eameres2
SynthTronica – synth for iPad – Dynamic Multitouch Filter
Space here we come:
This video demonstrates SynthTronica, the spectral synth by Leisuresonic for the iPad. This episode showcases SynthTronica’s Dynamic Multitouch Filter, an expressive and innovative musical controller, for use in live performance, and for touch sound synthesis.
Synth Architecture
SynthTronica is a hybrid instrument; its synth engine combines characteristics of virtual analog synthesis and digital sampling. For most “traditional” synthesizers, sound evolution is controlled by parametric filters — combinations of VCFs and LFOs. Instead, SynthTronica uses time-varying filter data to provide spectral evolution; an instance of such data is called a “formant”. Formants can be created in several ways, through the iPad’s microphone, importing audio files, and capturing performances of SynthTronica’s multitouch filter. While formants are currently played in strict loops, the maximum formant duration is fairly large — just over 60 seconds — providing potential for significant, albeit prerecorded, variation. The benefit of formants lies with their generality. A formant can be made from sources as disparate and varied as Nord percussion, cellos, choirs, braying donkeys, or the chorus of Katy Perry’s latest single. The latter example is an interesting consideration: a formant can reflect much of the rhythmic and sometimes vocal characteristics of its source sound, while effectively obliterating its pitch. Pitch is instead provided by SynthTronica’s synthesizer front-end. When readily-discernible formant sources are used, SynthTronica provides a unique musical space that lies between the boundaries of pure sound synthesis and referential sampling. Formant synthesis is not explicit like sampling; you play through the Katy Perry groove as if it was your avatar. With SynthTronica, a performer needs to make pitch choices for any sound to be heard.
Introducing the Fairlight App for iPhone & iPad
Introducing the Fairlight App for iPhone & iPad, available from the Apple App Store in March 2011. Over 30 years since the original Fairlight CMI first changed the way we make music, we are proud to present the iPhone & iPad Apps, giving you the experience of a CMI Series IIx in the palm of your hand, complete with the full Series IIx factory library and expandable to include the best of the Series III library and even your own samples.
Marvel at the then revolutionary Page R step sequencer, gasp at the three dimensional waveforms in Page D and bask in the wonder of some of the most famous sounds of the Eighties!
The sound track of this video is also one of the app’s built-in demos. ‘Octagonalle’ was created using original Series II library sounds on the Fairlight iPad app by producer/composer Justin Shave. Shave confronted his first CMI in 2006 when he co-produced Darren Hayes’ album “This Delicate Thing We’ve Made.” Darren had decided that the Fairlight was the only instrument which could deliver the ’80s sensibility he was seeking, bought one on eBay, and handed it to Shave to tame. The rest is history.
The full dance track is available as a free download from the Fairlight web site.
http://www.fairlightinstruments.com.a…
The app celebrates the release of the strictly limited edition CMI 30A. 100 hand built recreations of the CMI IIx, using state of the art technology to bring you the true Fairlight CMI experience as never before.
Order yours at http://fairlightinstruments.com.au
The legend has returned.
The synthesizer that does not exist
IMAGINARY SYNTHS episode 1, Alpha JUNO-8
This synth exists only in in my imagination! I wanted to imagine, and replicate what an 8 part multitimbral Alpha Juno would sound like. In fact, if it did exist, here’s a small audio demo of what it actually would sound like. Play it in HD to do it justice!
Using only my Alpha Juno 2, the first pad part was recorded in Pro Tools playing manually to a click, on 8 individual passes.
The second part was created using MIDI sequencing in Pro Tools. I laid down a simple MIDI arpeggio and started recording the audio parts 1 stereo track at a time, each with their own “on the fly” modulations.
The oscillator de-tuning was accomplished by simply de-tuning using the Tune/function button while tweaking the root pitch with the alpha dial in real-time on a few of the audio passes . The “reversed” arpeggio sections were simple audio edits to the stereo mixdown.
I’ve always loved this synth, with it’s unique rich sound. Now I love it even more
as an 8 part multitimbral (albeit imagined, but possible to replicate) SYNTH BEAST!
Via rudiedisone
TAL-NoiseMaker has been updated
TAL has released an update to its free software synthesizer, TAL-NoiseMaker.
Here’s what’s new:
- Vintage delay added (version 3.03).
- Filter overdrive (version 3.03).
- Own preset save and load functionality for preset exchange (version 3.03).
- Osc 2 noise waveform added (version 3.03).
- LFO 1/2, OSC 1&2 modulation support (version 3.03).
- Full automation support. Drop downs also compatible with VST automation (version 3.03).
- Changes in the preset management, single preset support (version 3.03).
- Envelope Editor: Fix tempo option added (version 3.03).
- Envelope Editor: One shot option added (version 3.03).
- Envelope Editor: Reset button (version 3.03).
- 256 presets by Frank “Xenox” Neumann / Particular – Sound FN, The Unshushable Coktor TUC, Alexandra Sendy AS, Patrick Kunz TAL (version 3.03).
- Small volume correction in the 24 dB filter at high cutoffs and full resonance (version 3.03).
TAL-NoiseMaker is available for Mac & Windows.
100% true analog circuitry with subtractive synthesis
The SYNTHLAB uses a 100% true analog circuitry with subtractive synthesis which is designed in a classic way. This design is not new because it started in the early 70´s with the voltage controlled modular systems. The use of the low pass filter based on the transistor cascade lets the synthlab sound very similar to the well known early Moog synthesizers. Check out the full specs and see some videos inside.
As the SYNTHLAB has a built in MIDI interface you will find it easy to integrate into any MIDI studio setup. The SYNTHLAB also has a built in MIDI-TO-CV/GATE interface which can become very handy, when using vintage equipment. The SYNTHLAB is a hand-made true discrete analogue synthesizer built in Germany. We have used components from the 70s and 80s but also modern technology. There are no DSP´s or such built in, so the sound is true, pure and very experimental like a smal synthesizer laboratory – hence the name: SL-1 SYNTHLAB.
The setup of the SL-1 is very easy-to-use if you have played around with other anlogue synthesizers. Every parameter has its own pot for controlling and playing with the modulation and everything can be controlled manually in real-time. The controls of the modules are diveded into groups on the frontplate so they can be visually seperated for easier use. For basic setup you have 2 VCO´s and an external audioinput. The selected signal can be routed through the VCF and VCA before it reaches the audiooutput. For each VCF and VCA you have an own envelope generator. Additonally you have various modulation routing possibilities through the LFO´s.
Features
* 2 x VCO´s ( 2 waveforms – saw & pulse)
* 1 x VCF (low pass filter 24dB – Moog cascade)
* 1 x VCA
* 1 x Noise
* 1 x Ringmodulator
* 1 x Suboscillator (-2 octaves)
* 2 x LFO (various waveforms and routings)
* 2 x ENV (ADSR for the VCA and AD for the VCF)
* MIDI-CV-Interface with 2 x CV and GATE
* Audio IN
* Audio OUT
* MIDI IN/THRU
* External PSU included
Technical specification
* POWER: 18V AC 1000mA (PSU included)
* Dimensions: 29.8 cm * 16.5 cm * 6 cm (11.73″ * 6.5″ * 2.36″)
(with packaging: 36.5 cm * 23 cm * 10 cm (14.37″ * 9.06″ * 3.94″))
* Weight: 1.5 kg (3.31 lb)
(with packaging: 2.1 kg (4.63 lb))
Demonstration of the massive MacBeth M5N
Here is a demonstration of the MacBeth M5N being played in 3 note polyphonic via a Kenton Pro4 in polyphonic cyclic mode! I believe that the Pro2000 unit will also do the same thing.
Each of the oscillators on the M5N gets its own CV from the Pro4. I wish my keyboard skills were a little bit better- but this will give you some idea!
Ised three cams for this- a Canon 60D, a Nikon D90 and my small Sanyo Xacti camera that sat on a tripod above things!
Hope you enjoy, Ken M
PS- Sadly, there is a squawky ‘artifact’ on this vid……=/
Claude Debussy – Clair de Lune
http://www.youtube.com/watch?v=yHP9LAEGQmM
This is one of the finest pieces of music ever written. It’s very cinematic and I was kinda bored on a friday night, so I decided to just make my own version of it.
It’s featuring the Minimoog model D, which has some trouble staying in tune, especially on the high notes. The Juno-60 on the chords. I ran the last half of it through this old tape deck, so you kinda get this rough tape hiss and distortion.
I was kinda inspired by this arrangement of another song.
http://soundcloud.com/datashat/arr-da…
I’ve always been a big fan of David Holmes version as well.
http://www.amazon.com/Oceans-Eleven-D…
Hope you like it.
DATAMASKIN
