New album in January with Mobile Homes
It sure has been a while but now they are back 
There new song below:
[youtube=http://www.youtube.com/watch?v=f2Nn54Rhv48&eurl=http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=153575698&feature=player_embedded]
Biography:
The Mobile Homes was formed 1984 by Andreas Brun, Patrik Brun, Hans Erkendal, and Per Liliefeldt.
At first there where many bands playing in the same premises, but later there where only a few left and they decided to form The Mobile Homes.
Early in their carreer Mobile Homes performed on both Laibach and Nitzer Ebb´s Scandinavian tour.
The band has been signed under many labels. It started with Papa Records, but that company where later no more so they had to search for a new label.
Mobile Homes contacted Christer Sandelin and signed under his label Alpha. At Alpha they released the single “I know I will die”, and after that they signed under Sonet.
Later they changed record company again, and this time they signed up with Hawk Records. At Hawk they released the albums “Hurt” remixed by Denniz Pop, “Nothing But Something” Produced by Christian Falk, “Test” Produced by Joolz Beeston (Ex Nitzer Ebb and “Meanwhile”.
After a long break they signed under the german company SPV GmbH and in Sweden under Arcade/CNR.
Together with the ex Kraftwerk member Karl Bartos they released the album “Mobile Homes” in 1998. The most radioplayed song on that album was “You make the sun shine” which was later the music in a commercial for the airline SAS.
In 1999 the record company Memento Materia released a best of Mobile Homes album called “There is no place like away”.
After the album “Mobile Homes” they signed under Sprinkler/Universal Records and released the single “It..s all for the best”. Then they left Sprinkler/Universal and signed under Subspace Communications.
At Subspace Comunications they released the album “The world will listen” and the singles “Nostalgia” and “The more i think the deeper i sink”. The world will listen is recorded in the “Polar” studio, the former ABBA studio.
In may 2003 Mobile Homes signed under BMG Sweden and they released an EP produced by Sami Sirviö from Kent and Stefan Boman. Soon they will release the new Album “Today is your lucky day” Produced by Sami Sirviö (Kent)
New Thor Refill at Combinator HQ
Dave909’s Thor Sounds Vol. 2
Dave909 has been hard at work expanding upon the quality Thor patches he provided for us a few months ago. In SB Thor Sounds Volume 2 he well more than doubles the number of patches to add a multitude of quality tones to bring out the best in your productions. I lost count at over 200 patches and that was just for Thor. Additionally he has thrown in many Combinator sounds to push this refill to the limit.
Want to know more about Bass?
Found this great blog poste on the subject, however if you are very concerned about lightly dressed women (it’s perfectly safe, but still) than remain here and get the summary
The double bass and the bass guitar have their use, but sine waves are absolutely crucial in bass science. Producers who don’t have them in their toolkit might as well pack up and leave. Here’s what they sound like
[youtube=http://www.youtube.com/watch?v=igGroIcga3g&eurl=http://dubshot.blogspot.com/2008/10/basswatch-3-cult-of-sine-wave-enter.html&feature=player_embedded]
Abstract:
And here’s what a sine wave looks like. The original meaning of the word sinus in ancient Latin is bosom and the curves of the sine wave look feminine indeed. But times change. Nowadays when people hear a heavy bass they usually picture a big bottom. 
And what’s even more puzzling: while a low frequency sine wave may sound like a fat ass, a high frequency sine wave sounds thinner than the skinniest supermodel. That’s the mystery side of the sine wave i’ll try to explain here.
Noise and more electronic noise
Elusive Austrians Steinklang Industries are back in a big way with no less than 4 new releases spewing forth. The first is a biggun, an ode to the Japan noise scene called “Japanoise of Death II”. Like the name suggests, this is the second iteration of the regional noise compilation and features notables like Guilty Connector, Dissecting Table, Incapactiants and a wack more of both grizzled and fresh faces. Making things more interesting is a special laser etched metal box edition which combines both editions of the comp (the original was only available as a limited vinyl or CDR).
Continuing with Japan, we then have HIROSHI HASEGAWA‘s “Ascension No.999”. This one is a CD with a run of 500 that combines “experimental cut-up noise, over droning sound-walls” with “screaming high frequency manipulations” during its 50 minutes. If that doesn’t do it for you (or you still have cash left) “Rotten sarkoma” is the title of CDR from SCRELOMA which combines two of the best things in this mean old world: “harsh noises and heavy Power Electronics”. You can expect “concrete or sublime rhythms” recorded in analogue with a runtime of 61 min.
[youtube=http://www.youtube.com/watch?v=RS61mFM4D9M]
Finally, a week from now seminal release hog Dissecting Table gets yet another notch in his belt with “Early studio works 1986/87″, a CD collating earlier material from his first LP and 7” plus 5 previously unreleased tracks. The disc comes wrapped in an A3 sized poster and lands on April 17. MP3s have been posted for these releases so suck up some bandwidth already.
More info here >> info@steinklang-records.at.
Thanks to moron for the info
Mochika2
Playing around with the Mochika2
[youtube=http://www.youtube.com/watch?v=kabp6BXmPag&eurl=http://matrixsynth.blogspot.com/&feature=player_embedded]
Description:
This synth features:
- one square and saw waveform VCO (voltage controled oscillator) with a huge pitch range, from subsonic to ultrasonic sound
- One square and triangle waveform LFO (low frequency oscillator), that modulates the VCO for the vibrato effect creating old school arcade Atari-like sounds.
- White noise generator that triggers the VCO and can create percussion like sounds.
- 8 step Sequencer with note on/off switch and pitch knob for each step .
- It has a 1/4 inch audio output, 1/4 inch CV Output (to control other analog gear).
- The Mochika features a MIDI input to sync the Mochika with any midi device sending midi clock signals, the mochika can sync 1,2,4 and 8 times the tempo of the master clock midi device.
- Also the instrument is ligthed with 1 ultra bright red led that indicates the LFO Rate, and 8 red leds to indicate the step that is being played. Very useful when you play it on a dark stage.
- The Analog Sequencer is packed in a cool laser cut clear acrilic case that shows all the hand made analog circuitry.
- The instrument is powered directly from 110V or 220V AC.
- Dimensions: 230mm(W), 170 mm(D), 80mm(H. incuded rubber feet and knobs)
Camouflage to release new live DVD
Studio Devil unveils Virtual Bass Amp
Studio Devil unveils Virtual Bass Amp, the newest addition to their line of vacuum tube modeling amplifier plug-ins.
Features :
– Classic 12AX7A vacuum tube bass preamplifier emulation with GAIN control.
– BOOST switch that “hot rods” the bass amp for natural overdrive and distortion.
– BASS, MIDS, and TREBLE tone controls based on classic bass amp designs.
– Parametric MIDS control with FREQ knob for customized amplifier tone.
– Push-pull tube power amplifier model with DRIVE control.
– Continuously variable SOFT / HARD clipping limiter control.
– DEEP and BRIGHT switches to boost the ultra low end and brighten presence.
– Built-in “4×10” and “1×15” Cabinet Simulation FIR Filters.
– “Direct Box” (D.I.) Mode for compatibility with your favorite cabinet impulse modeling plug-ins.
– 7-Band GRAPHIC EQ tuned specifically for bass guitar with LEVEL and ENABLE controls.
– 4X Up-Sampling Engine with 64-bit Internal Floating-Point Precision.
– 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, and 192kHz sampling rate support.
– Compatible with VST, Audio Units, and RTAS audio hosts for Windows and Mac OS X.
Electro synthpop comic strip
Have a great weekend you all
KORG Polysix – Free Reason Refill from Lizard
Lizard has released yet another Refill for Reason – his previous releases has been highly acclaimed and I have used them a lot myself. I have not tried this one and judging from the ad below I am not sure what we are supposed to expect from this one.
This synthesizer was released in 1981, and features six voice polyphony (as if anyone didn’t guess that by its name), a 5 octave keyboard (61 keys, not touch sensitive), 32 programmable memory slots, 1 VCO per voice, 24 dB/octave VCF’s & normal ADSR controlled VCA, a cool arpeggiator and a quite useful effect section. The VCO is square, PW or PWM with controls for octave(pitch) and speed. The VCF has controls for cutoff, resonance, EG (envelope generator) intensity and keyboard tracking.
The Polysix is full of knobs and buttons, that gives you instant access to all of the parameters and effects. It was the last Korg to have that, since its successor the Poly-61 introduced DCO’s and digital programming. No more hands on knobs when playing, and more tedious programming. The Polysix have 3 different play modes. Normal – as any polyphonic synth, Unison – makes all 6 voices play the same note, and Chord – memorizes a played chord and transposes this when a key in the desired pitch is played.
It also has a sub oscillator, like many single VCO synths, that adds depth to the sound. They say it sounds fatter and warmer then the 2 DCO Poly-61, although this synth has twice the number of oscillators.
The Polysix have SSM chips for its filters and envelopes, and some say this explains its warm sound. It also has a special self-tuning function. In unison mode the six voices are adjusted a little bit out of tune from each other, giving you a real fat monophonic lead sound. There are separate wheels for pitch bend and modulation. The Polysix was one of the last Korgs to have this instead of the (in my opinion) cheaper joystick.
Combinator HQ advertisement below:
This is a refill have been reluctant to release for a long time. There have been several reaons behind not doing so but primarily I felt it didn’t offer much that Thor couldn’t do. It was in partial completion stage when R4 was introduced and I had decided to shelve it at that time. And quite honestly, there are a few P6 refills out there already. The community risked being poly-ed out.
However this set of samples was dear to me since the Polysix was the very first synth I owned when I purchased it way back in 1983. In review of this work, I felt that it made a conscious effort to capture some of the abilities that the original unit had including unision/mono mode and chord memory. As it may not have a huge impact in the average refill library, it does offer authenticity, programing examples and a few interesting layered patches.
So now it’s out there. I also had a few patches in there that were R4 and decided to omit them. This one I believe to be R3 freindly containing no devices that are native to the newest version of Reason. This has variances on 60+ sampled patches. Over 150 Combis in all. Hope it has some value to some one.
Propellerheads feature Bon Harris
A really good feature story, enjoy
Bon Harris is mostly known as a founding member of legendary UK electronic act Nitzer Ebb, but he has also worked with artists such as Billy Corgan, Marilyn Manson, his own band Maven, and many more.
Bon is back in the studio working on the new Nitzer Ebb album and we met with him to talk about how he is using Reason in his work. Check the full story for a detailed explanation of how to fatten a bass sound using Reason’s BV-512 vocoder (with a Harris-crafted example patch to download) and even a little sneak listen to a new Nitzer Ebb track.
And of course a bonus Nitzer ebb video, one of my favorites:
[youtube=http://www.youtube.com/watch?v=3w3A72L3rj4]
DATAMASKIN
