Time machine: Oberheim OB-X + Roland VP-330
Vintage synthesizer demo track by RetroSound
“Lost City”
synthesizer sounds: Oberheim OB-X Analog Synthesizer (1979)
analog strings and human voice choir: Roland VP-330 Vocoder Plus (1979)
recording: multi-track without midi
fx: a little bit delay and reverb
the long version:
https://soundcloud.com/retrosound-ii/…
wood zo’s²
Technical details:
4 ms Peg, RCD
Analogue Systems 2x RS100,2xRS 110,2xRS 360
Bananalogue Serge VCS
Cyndustries 2x Zero Oscillator
Doepfer A 134 panning by A 143-9 QLFO ,Maths & Moog MP 201
foh choices
Grendel Formant Filter 2x
Make Noise Brains PP 2x Maths Optonix QMMG
Malekko Jag
Roland System 104 Sequencer (ch A to Quantimator 1 ch B to Quantimator 2)
SSL Modulation Orgy
Toppobrillo,Sportmodulator,2xQuantimator (sixtone symetrix scale), 2x TWF
Logic master clock to Kenton Pro 2000
6/8 time
FX Boss VF 1,Lexicon PCM 80, Line6 Echopro , TC M 3000
NI Monark reviewed by Audiofanzine
In the domain of analogue synthesizer emulation, the race for fidelity continues. The biggest breakthroughs have not necessarily originated from the top editors. One of them, Monark, is reacting with a promise of the most faithful recreation of an old analogue hero, the Minimoog.
An ET from Mars ? Is it really possible that one day a virtual synthesizer with its 1s and 0s could equal the sound and reactivity of a purely analogue synthesizer? Can an imitation waveform even come close to sounding as good as the original? Can we really reproduce a random reaction from a computer? To answer these two last questions, we know that the human ear has (up to a certain point) the phenomena known as sound « smoothing » (imagine that the ear allows you to hear transistors at real average volume) and that the stair effect brought about by digital audio on the wave form (and therefore, the sound itself) has a tendency to not be heard thanks to the improving quality of converters, clocks, etc. (unless you want to work with 8 bits at 11kHz).
As for the randomness, that’s probably where the real problem is: with analogue, random is… random. With digital, it’s pseudo-random. A machine can’t choose a number at random. It would have to « think »… and we’re not there yet.
So two vital characteristics in analogue equipment can not be identically reproduced in the digital domain. Should we conclude that well thought out programming ideas, and ideas to « get around » the problems should not be considered pertinent? Some editors have shown us that this is not the case: certain aspects of the virtual MS-20 from Korg are pretty convincing, especially the G-Force series, with the impOSCar, the Minimonsta or the Oddity, which sound great. The Arturia products also have their own qualities with nice emulations (their most recent software), and Diva from u-he is still today one of the most extraordinary virtual analogue synthesizers around.
Read the whole eview here
Live 9 Mono Sequencer – Episode 1
Getting Started. Quick start guide to working with the Mono Sequencer Max for Live device include with Live 9. Follow all of our “Using Max for Live Device” videos from here: http://cycling74.com/wiki/index.php?t…
Rob Papen RE reverb for Reason – RPVERB EFFECT
You’ve spent hours on your track? Working and reworking every part to bring your musical vision to life. And you know that the quality of your reverb can be the difference between the rich sounding mix you’re after and one that comes off as flat and artificial.
Face it: When it comes to pristine, authentic reverb, it’s the algorithm that counts. RP-Verb is the fruit of Rob Papen’s decades-long study of reverb and endless hours of exploring, testing, and tweaking by Rob and Jon Ayres. The result is exactly what you would expect: a stunning, musical reverb that brings unmatched dimension and fullness to your mixes.
RP-Verb is the reverb you’ve waited years to have in your Reason setup. Try it out for yourself and see why pros describe it with one word: amazing.
Introduction price until 30 April: Euro 49 / USD 59 (normal price Euro 65 / USD 79)
OMD – English Electric (Andy and Paul studio interview)
The full interview is available in the Deluxe CD+DVD and Boxset editions.
Pre order: http://omd.firebrandstore.com/
English Electric is out 8th April 2013
Push 201: Jordan Rudess – Pushing The Limits – 1. Course Intro
When we proposed this course to our partners at Ableton, we wanted to see what magic might happen when a master musician/composer met Push for the first time. So we sent a pre-release version of Push to Jordan Rudess and gave him week to learn it before our camera crew appeared a his front door. We set up a video shoot in his technology filled music room and set the stage to let Jordan share his experience and expertise in creating and performing with Push.
What most people don’t know about Jordan is that he dedicates a lot of his energy to education. Its important to him, and thats why his teaching skills come across so clearly as he shares his music-making genius and technological chops while interacting with Push.
Jordan first takes you through track construction, building beats, chords and leads. He explains music techniques you can deploy to help you get the most out of Push’s interface. He then dives into fingering techniques you can practice to help you get the most out of Push’s touch-sensitive keypads. As he continues to build his track, Jordan generously shares precious musical tips learned from years of experience in the studio making records and on the road.
Watching a masterclass on Ableton’s Push led by a maestro like Jordan Rudess is an event that must not be missed. So sit back and see how to take your Ableton Live music-making to a whole new level with Ableton’s incredible new instrument: Push.
Waldorf Rocket review
“In the first part of my Waldorf Rocket review I am doing a quick rundown of the features of the synthesizer. Mind that I am not trying to create beautiful sounds and the audio setup is rather amateurish – this video is just features presentation for those of you who are too lazy to download and read the manual 😉 I will do a proper sound demo in about two days. While I know quite a bit about synthesizers this is my first youtube video, so I apologize for any technical shortcomings.”
Komplete 9 & Maschine on display
Browse all Komplete 9’s instruments and effects down to the preset level directly in Maschine. Once loaded, their most important parameters instantly map to Maschine’s Macro controls. Get more power than ever at your fingertips — Maschine got more komplete, too!
Battery 4 explained
Battery 4 101: Battery 4 Detonated by Matt Vanacoro
Video 7 of 21 for Battery 4 101: Battery 4 Detonated
Battery 4 rocks. It’s that simple. With canons blazing, Native Instruments has completely redesigned the Battery interface and has packed it full of new explosive features that will detonate your creativity and get you blasting out innovative big beats fast.
In this course, Matt takes you step by step explaining and showing how this new, improved version of Battery works. He explains how the new interface is much more than just a pretty face. Rather, it’s a vastly improved and consolidated workspace where sonic choices and creative ideas are quickly accomplished.
Next you learn all about the bank of tabs that include everything from advanced modulation to studio quality effects. From there, you dive deep into MIDI and learn how to customize, modify and and design your own individual kits from Battery’s vast collection of high-end samples.
So sit back and watch as Matt detonates Battery 4 revealing all the features in what might be the best drum instrument ever created!
…and be sure to check all of the NI courses in our ever-expanding library as we continue to build the largest collection of professionally-led course on the planet!
DATAMASKIN
