More info on the new Powercore 6000
By combining TC Electronic’s System 6000 algorithms with its PowerCore platform users now get the ultimate studio tool for their DAWs. PowerCore 6000 will be available at the end of October 2008 for $3495 MSRP.
PowerCore 6000 features eight FreeScale DSP engines, the same DSPs used in System 6000, and it has an SRAM memory design that supports high performance reverbs and delays. This enables users to run famous and heralded reverbs and delay-algorithms from System 6000 with popular DAWs like Logic Pro, as well as with any other VST- and Audio Units-compatible host.
With the inclusion of the System 6000 plug-ins, PowerCore 6000 is one of the most powerful mixing and mastering solutions for DAWs available today. PowerCore 6000 includes 7 pristine plug-in algorithms, which are ported 1:1 from System 6000: VSS3 Stereo Source Reverb, Nonlin2, DVR 2 Digital Vintage Reverb MD3 Stereo Mastering, Brickwall Limiter, UnWrap stereo to 5.1 conversion and TapFactory.
Powercore 6000 includes three of TC Electronic’s best reverbs. Starting off with the VSS3 Stereo Source Reverb, a genuine and original reverb directly ported from the System 6000. NonLin2, an effects reverb which differs from the traditional natural sounding TC reverbs. NonLin2 is capable of generating compact vocal ambience; percussive and dramatic drum sounds, reverse reverbs and completely new “twisted” effects. Completing the reverb section of PowerCore 6000 is DVR 2 Digital Vintage Reverb. Careful attention was put into preserving the qualities of the original EMT250 processor, including sweet modulation, spectral balance, spaciousness and saturation. Not only is DVR2 the most precise EMT250 emulation up to now, it also emulates its predecessor in the way parameters interact for different settings.
Don't miss out on ElectriXmas 2008
If you enjoy new EBM and synthpop acts make sure to check this concert out, myself I am just having a hard time sleeping struggling with jetlag in San Diego (an 8 hour time difference from Europe)
electriXmas is delighted to announce that mad industrial scientists Agonoize will be joining this year to make the party go with a bang!! Check the Artists section for more info!
Bands confirmed so far : Agonoize, Interlace, Autodafeh and Biomekkanik
Make sure to book your tickets 
GMedia releases the M-Tron Pro
GMedia releases its new virtual instrument : the M-Tron Pro. Building on the legacy of the original M-Tron, the M-Tron Pro software delivers hundreds of additional sounds, providing instant access to the distinctive tones popularized by The Beatles, Pink Floyd, David Bowie, Led Zeppelin, The Moody Blues, Radiohead and other luminaries.
Features :
– 200+ total tape banks (sample sets), including :
. 19 tape banks from M-Tron virtual instrument, re-mastered at London’s legendary Abbey Road Studios.
. Over 40 looped tape banks.
. Over 3.5GB of samples total.
– 700+ patches including many created by world-class recording artists and programmers.
– Up to 35 notes, each individually sampled.
– Dual layer and split keyboard operation.
– Programmable MIDI CC response via MIDI Learn.
– Controllable via MIDI controllers such as the M-Audio Axiom and Oxygen models.
– 29 parameters per layer including synth parameters :
. Low-pass, band-pass and high-pass resonant filter section.
. Tape reverse.
. Tape half speed.
– Supports standalone, RTAS and VST on Windows XP/SP2, Vista 32, Vista 64.
– Supports standalone, RTAS, AU and VST on OSX 10.4.x, OSX 10.5.x.
Instrument Overview
The M-Tron Pro virtual instrument is a remarkable emulation of the classic Mellotron — the unique tape playback keyboard made famous by such luminaries as The Beatles, Yes, Led Zeppelin and The Moody Blues.
The 3.5GB sound library features over 200 tape banks (sample sets) including those from the M-Tron, 19 of which have been remastered at London’s legendary Abbey Road Studios resulting in a warmth of tone surpassing the originals.
M-Tron Pro also delivers 45 brand-new tape banks and over 700 patches, many created by world-class recording artists and programmers. Utilise the patches or open the lid to access G:sampler’s easy editing controls for layers, splits, reverse, halfspeed and much more. It can be used in standalone mode (Mac/PC) or as a plug-in for most popular host applications.
Karin from the Knife goes solo
I sure hope this is just a side project and that the awesome collaboration between the two siblings aint over for good. Anyhow, Miss Karin Dreijer Andersson from The Knife send out this message on a couple of news sites telling us about the newly posted laidback and minimalistic piece “If I Had a Heart” with her solo project Fever Ray on MySpace. The debut album is scheduled for early 2009. Amongst the influences mentioned we find “Miami Vice”, Aphex Twin, David Lynch and Björk.
And for old time sake a nice Knife video:
[youtube=http://www.youtube.com/watch?v=VrjwqXwyzNU]
Cheers Ola
Don't miss out on the SOASC project = C64 heaven
The SOASC= project is a non-profit and a private project.
The SOASC= project is an automated recording technique invented by me (Stone Oakvalley) in order to mass record music from the legendary Commodore 64 and its SID sound chips (6581 and 8580) including one variation chip.
The purpose is to preserve Commodore 64 music in todays most common music format, namely the MP3.
The original SID music files are today played by millions of people around the world on software players that emulate the real hardware SID chips. The emulated audio material can vary a great deal compared to the authentic sound of a real Commodore 64, and from my point of view, why have something emulated when you can have the real deal instead? We give you the authentic Commodore 64 music as it sounds on the real machine. Commodore 64 is a legend in computer history and in many ways influenced in todays culture (known as 8-bit music or chip music). It deserves much more than just emulating that raw & unique gritty sound! It made many people happy “back then”, and we are here to offer that feeling again!
To put in it words we all can understand: WE LOVE C64!
The entire HVSC SID collection will be recorded as played from REAL Commodore 64’s (both old and new) as per the latest collection available. With PSID64 as the REAL C64 player and 64HDD as fileserver, it all connects to multiple PC’s with own tailored software, crude PAR: port control system/C64 keyboard interface and database structure tools written in PureBasic. Yes, its actually working.
Also, a strong point to consider in this project is that ALL SIDs are recorded on both Commodore SID chip models
regardless of what HVSC or the author of the SID had recommended. Remember: There are people out there
that probably NEVER heard the elite sound of the 6581 and its sample/filter defects, but only the sound of 8580
and visa versa. For those people, they ONLY rembember the tune as played by their model. And this is a strong point
of the SOASC= project: PRESERVATION for ALL!
If it crackles and pops….well..it’s the true and authentic sound of a real Commodore 64!
This is what we had in the past, and now the past will be the present for all Commodore 64 fans out there.
It is called AUTHENTIC because the process will NOT attempt to enhance any of the recordings, it is recorded
straight plain out from the mono Commodore 64 Audio/Video connector. No stereo, no funny mixes, no compression,
no filtering, no remix, no software noise reduction, no crazy SID hacks or other unatural Commodore 64 elements.
If there is a poppy click in the recording its supposed to be there. The SID chip is unique as should be treated as so as well.
I’ve adjusted DC BIAS to 0 and executed Volume Maximizer with no clipping using NORMALIZE.EXE and SOX.EXE.
Noise Reduction was done by improving the physical grounding inside Commodore 64. Thats it!
The final MP3 (224kbps, mono, 44100Hz) will contain all information from the SID itself, sorted in respect of the
directory structure as defined by HVSC. Filenaming, title, author, copyright etc.
Forget PlaySID/SIDPlay2w….and all the others
Forget HardSID
Forget ParSID
Forget ReSID
Forget MMC64 (It has an intergrated SID player, for those who wonder)
Forget them ALL!
Just listen to the real deal instead with the help of the SOASC= project!
Cycling'74 – the never ending Pluggo concept
[youtube=http://www.youtube.com/watch?v=ly1rQkTUIjM]
Video taken from Gearwire
pgs-1 (Pretty Good Synth version 1) is an analog-style monosynth with some extreme flexibility and a whole lotta filtering. Three oscillators, two filters and four envelopes are the start of this machine. An integrated effects section (with overdrive and digital delay) allows presets to provide a total instrument experience.
Pluggo 3.5 is an extraordinary collection of more than one hundred audio plug-ins. Pluggo works with sequencers and audio applications that support Audio Unit, VST, and RTAS plug-in formats. Version 3.5 is available for Windows XP and Mac OS X. Originally just 74 eccentric plug-ins such as the legendary Feedback Network, Tapped Delay, and Swish, Version 3 added over 19 Essential Instruments–tasty and nourishing instrument plug-ins in a variety of flavors for your Audio Units, VST, or RTAS host application. These elegant and immediately effective instruments were created by eowave, the developers of the iSynth, and make full use of award-winning Max/MSP audio programming environment.
Welle:Erdball single released on CD
German electro-pop act Welle:Erdball’s single, Ich Bin aus Plastik, is available now on CD. Originally released as a limited edition vinyl single, Ich Bin aus Plastik was first issued in April of this year and sold out immediately. The CD edition features four exclusive bonus tracks as well as two versions of the title track, but does not include the cover of Kraftwerk’s “Die Roboter” that was included on the vinyl version. Welle:Erdball are currently on tour in Germany; visit the links for more information.
[youtube=http://www.youtube.com/watch?v=o3YxVhOjPhM]
Puremagnetik Emissions for AudioCubes
“Emissions is a real-time soundscape generating instrument by Ableton Live content developer Puremagnetik (www.puremagnetik.com). It utilizes an array of textural ambiances, specifically designed for use with Percussa’s AudioCubes. It will morph, react and evolve depending on what the user (and the cubes!) decide to do.
AudioCubes are a tangible interface for creating music and sound. They interface seamlessly with your existing audio software giving you hands-on control in creating elements for music production, sound design and live performance.”
System Requirements:
- Ableton Live 7
- one or more Percussa AudioCubes
- latest update of MIDIBridge software for AudioCubes
- 100 MB of free hard disk space and 500 MB of physical RAM
Get the latest AudioCubes software from:
Promote your music: Jeuce
Jeuce
Listen here >> 01-young-touch 03-the-flashlight-and-the-fall-rework Web site/MySpace : www.myspace.com/jeuceuk Contact info: jeuce@hotmail.co.uk
Music production tool/s: Not mentioned
Well this makes me soooo happy, this clearly is a band that knows what they are doing – in my words a serious live act that I would not have anything against watching. Really really nice going and if I were a label I wouldn´t hesitate on signing you guys.
However, this is of course a review section as well, and as such we are forced to be fairly critical as well – providing, hopefully, some useful feedback. The main thing I tend to get somewhat disturbed about is the somewaht overloaded music image you provide at times, especially so in Young touch, not that it isn’t sounds that fit in, but they tend to give you a cascade of sounds at once. I would trim down the sound effects here and there, so not to clutter the overall experience which is great.
From an electro perspective I would be very intrigued to see what would happen if you exchanged, to what I think is a live drum set, some of the drum beats, with some more electro heavy basses – just to give it a second twist or perhaps have someone make an electro remix of the tracks.
From a vocals perspective I believe this is definately the best vocals performance I have heard so far in this promote section, and I have listened to quite a few by now. Only minor thing would be that the vocals at times tend to take over the entire listening space.
Worth listening to? DEFINATELY
In there own words:
We write, record and produce all of our own material – as well as playing live and DJ’ing (Jeuce Joyriders) around Southeast England for the past year or so. Weve just finished our move up to Leeds and trying to get as many shows booked as possible.
A short breakdown of our past endeavors consists of:
– Two official E.P releases on our own label, Get Sound Sexy Records (roughly 3750 sold worldwide)
– Official remix work (either Released or pre production) with Hadouken! (Declaration Of War – Atlantic), Shit Disco (I Know Kung Fu – Fierce Panda), The Whip, Devils Gun, The Raid, Fluid Lines, Goose, Trash Fashion., Charli xox…
– Supported such bands/DJ’s as Dan Le Sac & Scroobius Pip, Kid Acne, Graham Gold, Kate Nash, Trash Fashion, The Super Mario Brothers, Diverted etc
☻☻☻☻☺
Takashi Murakami – high five :-)
Saw a great documentary yesterday about the japanese pop artist Takashi Murakami and once a again I was reminded on how great his work is. So although not electro stuff I just had to throw something in here about him
[youtube=http://www.youtube.com/watch?v=yR08ORFTft0]
About (from Wiki):
Takashi Murakami (村上 隆, Murakami Takashi), born 1 February 1962 in Tokyo, Kantō region), is a prolific contemporary Japanese artist who works in both fine arts media, such as painting, as well as digital and commercial media. He attempts to blur the boundaries between high and low art. He appropriates popular themes from mass media and pop culture, and then turns them into thirty-foot sculptures, “Superflat” paintings, or marketable commercial goods such as figurines or phone caddies.
Murakami attended the Tokyo National University of Fine Arts and Music, initially studying more traditionalist Japanese art. He pursued a doctorate in Nihonga, a mixture of Western and Eastern styles dating back to the late 19th century. However, due to the mass popularity of anime and manga, Japanese styles of animation and comic graphic stories, Murakami became disillusioned with Nihonga, and became fixated on otaku culture, which he felt was more representative of modern day Japanese life.
This resulted in Superflat, the style that Murakami is credited with starting. It developed from Poku, (Pop + otaku). Murakami has written that he aims to represent Poku culture because he expects that animation and otaku might create a new culture. This new culture being a rejuvenation of the contemporary Japanese art scene. This is what it is all about to Murakami; he has expressed in several interviews in the last five or six years the frustration that his art has risen from. It is a frustration rooted in the lack of a reliable and sustainable art market in post-war Japan, and the general view of Japanese art in and outside the country as having a low art status. He is quoted as saying that the market is nothing but “a shallow appropriation of Western trends”. His first reaction was to make art in non-fine arts media, but decided instead to focus on the market sustainability of art and promote himself first overseas. This marks the birth of KaiKai Kiki, LLC.
In 2008, Takashi Murakami made Time magazine’s 100 Most Influential People list, and was the only visual artist to do so.
DATAMASKIN
