Simple-Media has released retro-gsx and Cathedral, two new virtual synthesizer instruments for Windows.
A new addition to the retro-gs series of instruments with a completely new build, retro-gsx offers even more SID inspired chip sound goodness thanks to the built in ‘advanced wave sequencer’. Capable of recreating an incredible range of authentic SID sounds, easy to use, versatile and powerful. If you liked retro-gs01 and want even more creativity or you are just looking for a VST instrument to recreate those classic 8-bit sounds then look know further than retro-gsx.
Cathedral is a new approach to the task of recreating the sound of a pipe organ. Rather than use a large sample library, Cathedral uses a hybrid analogue synthesis and physical modelling approach to create an ultra-flexible instrument without a huge file size and with reasonable CPU performance. Cathedral offers up to 6 programmable, 4-level stops that can each be set to 1 of 3 pipe types and any 1 of 14 different footages. Cathedral includes a built in reverberation unit, essential in recreating an authentic pipe organ sound and additional filtering and modulaion to enhance the sound even further. Cathedral is presented in a beautiful and easy to use interface to allow for intuitive programming.
retro-gsx and Cathedral for Windows (VST) are available to purchase for £10 each.
Simple-Media has also released two new freeware instruments: Striker and Voc-Two.
Striker is a physical modelling instrument created to reproduce the sounds of various types of tuned percussion such as marimbas, vibraphones and other instruments where a hammer or mallet strikes a block.
Following on from Voc-One, Voc-Two allows you to create realisitc string ensemble and choir sounds without the use of samples. It includes a wide range of controls over the source sound generation and the morphable formant filter making it a surprisingly flexible instrument for creating rich and atmospheric pads and realistic ensemble sounds.
One of the unique features of the Nerdle kit is the use of touch-sensitive capacitive-sense buttons, made from copper foil pads inside the case. While meeting with the camp directors to prepare these activities, we decided to try linking the raw information from the capacitive sensors to the on-board piezo speaker.
We added two lines of code, uploaded, and jaws dropped. It sounded like the computers of the future were supposed to sound.
In this guest column, we turn to veteran synthesist and music tech expert Jim Aikin. When Jim wants to do digital synthesis, one of the tools to which he turns is a veritable favorite with a direct-line legacy to the beginnings of computer sound. That doesn’t mean Csound hasn’t kept with the times, though, or that it has to be unfriendly. If you’ve been looking for a way to dive into sound and code, this could be an ideal path.
The Chipophone is a homemade 8-bit synthesizer, especially suited for live chiptune playing. It has been built inside an old electronic organ.
All the original tone-generating parts have been disconnected, and the keys, pedals, knobs and switches rerouted to a microcontroller which transforms them into MIDI signals. Those are then parsed by a second microcontroller, which acts as a synthesizer.
The Morphwiz app from Jordan Rudess takes the concept of the Hakan Continuum – which Jordan was also involved with, and applies it to the touchscreen of the iPhone/iPad to create a totally new instrument, while adding some trippy visuals, effects and a healthy synth engine. Dream Theatre are currently on tour with Iron Maiden in the US, we caught up with Jordan the morning after the night before at his hotel while on the road. He gives us an insight into the features and thinking behind the app.
Musikame has a beta of the souncloud dj player, the easiest way to dj your soundcloud tracks, allowing you to mix tracks from SoundCloud.
The soundcloud dj player includes various controls like pitch control, dj fx, looping, etc.
At this stage all the mixing is done automatically by the app itself: the user just picks the tracks and the length of the crossfade between them. While it's not actually possible to beat-match tracks as yet, the software does have pitch control with adjustable range, FX, looping and reverse capabilities, hinting at more advanced functionality in the future.
Create Digital Music has some exclusive photos of Griid, the controller for iPad that offers four fluid ways to navigate clips in your Ableton Live set.
Peter Kirn writes:
The developers of Griid, the Ableton Live controller on iPad created in association with Richie Hawtin, have shared photos and screen captures early with CDM to give us a look at the upcoming app. Just over a decade after its original inception, Ableton Live itself remains a ground-breaking user interface design. Love it or hate it, it’s a benchmark in thinking about how music apps might look.
Griid is compelling in part because it re-imagines how that central Session View and clip launching might work, now in the context of a touch tablet. Personally, I like the results. As on the Lemur, bold, saturated colors and contrast on a black background are central, of course. It’s also nice to see extraneous visual information removed. And for anyone with epic-sized sets of clips in Live, you’ll like the massive overview.
A closer look at the OP-1 portable synthesizer and controller (no release date yet though).
Last week, Ihavesynth.com got the chance to meet up with Teenage Engineering to get a closer look at the OP-1 synthesizer/sampler/controller/you-name-it. Teenage Engineering revealed their eye-catching OP-1 at Musikmesse in 2009 and the hype around the synthesizer has been massive, even though it is not yet released. We have posted about the OP-1 before and offcourse we are as curious about the OP-1 as the rest of the world seems to be.
Teenage Engineering is a great gang of 7 tech guys in a white painted garage filled with wonderful stuff like computers, synthesizers, all sorts of tech gear, an electronics shop, 3D printers, bikes, mopeds and a little dog which you can hear in the interview. The Teenage Engineering crew has experience from a lot of different areas, like the gaming industry, programming, electronic music – and it all comes together in their cozy garage.My mate Bjorn had a chat with David at Teenage Engineering, check it out in this clip.
One of my favorite hacks at last weekend’s Music Hack Day is Tristan’s Swinger. The Swinger is a bit of python code that takes any song and makes it swing. It does this be taking each beat and time-stretching the first half of each beat while time-shrinking the second half. It has quite a magical effect.
This project demonstrates how to use the Xbox Rock Band Stage Kit with Micro framework using GHI's USB Host feature….no Xbox is necessary!
This kit uses USB and it has special requests to set the strobe speed, LEDs and fog. But no worries! This still works with GHI NETMF devices. We use USB host on a low level using USBH Raw Device. This allows us to control the Stage kit as we like! It is actually easy if you know how USB works.
Tom Shear is back with another pack of free samples:
Today's selection is what used to be one of my favorite bass sounds I'd programmed for my old SQ-80 back in the day. It's very digital sounding and can add a nice bite to other bass sounds when layered. (The name of the patch was inspired by the liner notes of a Shriekback album that listed not only the gear used, but the name of the synth patches they used which pleased the hell out of me for some reason…)
The download includes 8 mono 24-bit/44.1k WAV samples of the C and G keys for 4 octaves.
Diego Stocco @ Soundcloud: In the past months I've been working on some new tracks with my Experibass. Since I built it, I discovered many new ways of interacting with it
Take a look at this gallery to know more about the Experibass: http://www.behance.net/Gallery/Experibass/312989
David M. just sent us useful information on how to add internal pitch controls for both Kaossilator and the Kaoss Pad, below are his words of wisdom…
After reading about the GetLoFi Tutorial for 1799 oscillator circuit mod on the KORG Mini KP/KO and with a few of the LTC Modules on hand I decided to give it a go on a brand new Kaossilator. The conversion took about 45 minutes to do, but the results just blew me away. A real transformer for this instrument.
The Creators Project event series—a roving global celebration—launches this summer on June 26, when The Creators rolls into 80,000-square-feet of display and performance space honeycombed throughout the legendary Milk Studios in New York’s Meatpacking District.
The event is going to be a groundbreaking combination of interactive art and installations, panels, workshops, screenings, and live performances. As much as The Creators Project is a digital archive of our digital world, it is also a testament to the enduring appeal of the Real. Many of the artists within the program explore the way that digitally manipulated images, sounds, and motions converge in real time, in real spaces.
Plogue has released version 220.127.116.11 of Chipsounds, a virtual chipsound synthesizer plug-in which turns your host into a classic video game console, vintage 8bit home computer and even an 80’s arcade.
Plogue chipsounds authentically emulates more than eight vintage 8bit-era sound chips (on top of their variants), down to their smallest idiosyncrasies.
Changes in Chipsounds v18.104.22.168
New presets (around 300 total).
VST/AU parameters (only on first slots).
MIDI Out in VSTi mode (AU later).
Small skin installed but turned off by default (need to choose GUI_small in AriaSetup.xml).
Transpose setting for each slot.
MOS TED chip added (not worth a huge mention).
Various bug fixes.
Chipsounds is available to purchase for PC and Mac (VST/AU/RTAS), priced at 65 EUR excl. VAT. A demo version of Chipsounds is now also available to download (Silence after a 15 minute session; No Save).
Here we describe how to generate sine waves with an Arduino board in a very accurate way . Almost no additional hardware is required. The frequency range reaches form zero to 16 KHz with a resolution of a millionth part of one Hertz ! Distortions can be kept less than one percent on frequencies up to 3 KHz. This technique is not only useful for music and sound generation another range of application is test equipment or measurement instrumentation. Also in telecommunication the DDS Method is useful for instance in frequency of phase modulation (FSK PSK).
# ningear – This eBay seller is listing lots of Nine Inch Nails gear from their last tour. Want a piece of NiN? Get it now on eBay!
We are finishing our business. These are the very last units of “ebbe und flut” ever!! We are thankful for all our satisfied customers. We will be there for you in support and service in that time after this sale.
Carsten Schippmann (CEO)
Last ebbe und flut MKII units going for 999 EUR (normal price: 1498,21 EUR per unit) Tempting…
I’m happy to announce that the wait is finally over. Gruss Loops Volume VII is now available! With some major studio upgrades at Gruss Headquarters over the past month, I think you’ll be able to hear the enriched sonic textures that only a few thousand dollars made out to Steve Jobs can bring. If you put your mouth against the speakers, you might even be able to taste it.
Most of my American readers probably have today off, but regardless, the weekend is almost here! So here's a small set of 16 drum sounds sent through a vocoder for your downloading enjoyment… All samples are 24-bit/44.1k.
Today I made a simple ripple-based sequencer for the Novation Launchpad. The idea is simple. By pressing a grid button, a yellow, square ripple is created that emanates from the point that was touched. By holding down a modifier button and pressing a grid button, static, red points are created. Each red point represents a musical note. Whenever a given yellow ripple intersects (touches) a red point, the sequencer plays a note.
Chiptune refers to a collection of related music production and performance practices sharing a history with video game soundtracks. The evolution of early chiptune music tells an alternate narrative about the hardware, software, and social practices of personal computing in the 1980s and 1990s. By digging into the interviews, text files, and dispersed ephemera that have made their way to the Web, we identify some of the common folk-historical threads among the commercial, noncommercial, and ambiguously commercial producers of chiptunes with an eye toward the present-day confusion surrounding the term chiptune. Using the language of affordances and constraints, we hope to avoid a technocratic view of the inventive and creative but nevertheless highly technical process of creating music on computer game hardware.