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Audio Damage releases Tattoo

Related: , , , , Posted in news on Jan 09, 2010 - comment 1 comment
Audio Damage Tattoo

Audio Damage has released Tattoo, a drum synthesizer sequencer plug-in for PC and Mac.

With twelve voices inspired by the famous X0X series of analog drum machines and an internal sequencer that is second to none, Tattoo makes an excellent addition to the arsenal for any electronic music producer.

Each of the twelve internal voices has been created using our proprietary D-Plane synthesis, and each has been extensively tested and tuned in order to have a broad palette. Every parameter of every voice has its own modulation sequencer, allowing for extensive motion within a pattern.

The grid sequencer in Tattoo is a whole world unto itself, with comprehensive randomization features and multiple sync modes, including a MIDI note sync to enable use with virtually any time signature, groove template, or host swing. The sequencer has MIDI out (VST only) to drive other sound sources, to double or replace Tattoo’s internal sounds.

In short, Tattoo is more than a simple drum synth; it is a complete rhythm programming environment.

Tattoo features

  • 12 Drum Synths: Tattoo comes equipped with twelve different voices, utilizing our custom D-Plane synthesis, rather than the one general catch-all voice you find in most drum synth plug-ins.
  • Sophisticated Step Sequencer: Tattoo’s internal sequencer comes correct, taking grid programming to the next level.
  • Randomization For Days: There are multiple routes to randomizing your beats, from subtle ghost notes to full on haywire.
  • Parameter Sequencing: Every synth parameter (and we mean every one) has its own sequencer, including randomization.
  • Synchronized: Tattoo can run off its internal sequencer, from host sync, or via “note sync,” where the sequencer can be stepped with MIDI notes. In this way, Tattoo can run in any time signature you can come up with, or sync to any groove template in any host sequencer.
  • MIDI Input: Tattoo’s MIDI implementation includes full MIDI learn for all parameters and MIDI pattern switching. You can also use MIDI note input in addition to or instead of Tattoo’s internal sequencer, and still have access to the randomization features and MOD sequencing.
  • MIDI Output: Tattoo sends MIDI output of all its note events, including randomization, so you can use its step sequencer to drive any other drum synth or sampler (or any instrument, really) as long as your host allows MIDI routing from a plug-in instrument.
  • Audio Outputs: Tattoo has six stereo outputs. The first buss has a modified version of the Kombinat “One Knob Compressor” to add a little (or a lot of) squish to things.

Tattoo is available as an instrument plug-in for PC and Mac (AU/VST) for $79 USD.

More information: Audio Damage / Tattoo

Audio Damage announces Tattoo

Related: , , , , Posted in news on Oct 30, 2009 - comment 0 comments
Audio Damage Tattoo

Audio Damage has announced Tattoo, a drum synth sequencer plug-in for PC and Mac.

Audio Damage’s first instrument, Tattoo, is a drum synthesizer where everything old is new again. Featuring 12 independent “voice-tuned” synthesizer topologies loosely based on the X0X series, and an incredibly sophisticated step/mod sequencer, Tattoo is at home in all forms of electronic music production.

Tattoo features

  • 12 Drum Synths: Tattoo comes equipped with twelve different voices, instead of the one general catch-all voice you find in most drum synth plug-ins.
  • Sophisticated Step Sequencer: Tattoo’s internal sequencer comes correct, taking grid programming to the next level.
  • Randomization For Days: There are multiple routes to randomizing your beats, from subtle ghost notes to full on haywire.
  • Parameter Sequencing: Every synth parameter (and we mean every one) has its own sequencer, including randomization.
  • Synchronized: Tattoo can run off its internal sequencer, from host sync, or via “note sync,” where the sequencer can be stepped with MIDI notes. In this way, Tattoo can run in any time signature you can come up with, or sync to any groove template in any host sequencer.
  • MIDI Input: Tattoo’s MIDI implementation includes full MIDI learn for all parameters and MIDI pattern switching. You can also use MIDI note input in addition to or instead of Tattoo’s internal sequencer, and still have access to the randomization features and MOD sequencing.
  • MIDI Output: Tattoo sends MIDI output of all its note events, including randomization, so you can use its step sequencer to drive any other drum synth or sampler (or any instrument, really) as long as your host allows MIDI routing from a plug-in instrument.
  • Audio Outputs: Tattoo has a stereo buss and 10 mono outputs. The stereo buss has a modified version of the Kombinat “One Knob Compressor” to add a little squish to things.

Tattoo will be available for PC and Mac (AU/VST) soon.

More information: Audio Damage / Tattoo

Short links for October 9th, 2009

Some interesting things I found recently:

# Audio Damage Tattoo

Chris Randall shares the latest on Audio Damage’s forthcoming virtual drum synthesizer (check little demo audio clip here).

Audio Damage Tattoo
Audio Damage Tattoo (alpha)

Chris writes:

With the caveat that the UI isn't 100% finalized, here you go. Have a gander at Tattoo, our first instrument. Some salient points:

  1. No samples. This is a drum synthesizer. Each voice is purpose-built, as well, rather than just having a general percussion synthesis voice.
  2. Every synthesis control has a sequencer attached to it.
  3. If you own Replicant, you can immediately see how the randomization/likelihood works for each channel/voice.
  4. The sequencer also outputs MIDI (in the VST only, of course) so you can use the randomization features in other drum synths or external hardware.

So, there you have it. We haven't decided on a price, and I have no idea whatsoever as to when it will be done. We've got the synthesis all in place, but not "tuned," and the sequencer is about 80% complete, but the hardest parts haven't been done yet.

# Synthgeek free samples

Synthgeek has added another sample pack to the free samples page. The Kurzweil percussion 1 (2.15MB) sample pack includes 15 drum/percussion sounds from a Kurzweil K2000S.

# Create Digital Music » The Speaking Piano, and Transforming Audio to MIDI

Austrian composer Peter Ablinger digitized a recording of a child speaking and then programmed a mechanical piano to replicate the sounds. The video above is in German, but Hack a Day has provided a translation:

I break down this phonography, meaning a recording of something the voice, in this case -, in individual pixels, one can say. And if I have the possibility of a rendering in a fairly high resolution (and that I only get with a mechanical piano), then I in fact restore some kind of continuity. Therefore, with a little practice, or help or subtitling, we actually can hear a human voice in a piano sound.

The content of the speech is taken from the Proclamation of the European Environmental Criminal Court at World Venice Forum 2009.

# Make: Online : Build a drone synthesizer

From Casper Electronics:

Read all about the "DroneLab" analog drone synthesizer and signal processor; PCBs and parts kits coming by the end of October. Or build it from scratch! The schematics are available at the bottom of the page. PCB pattern will be posted as soon as it is finalized.

Audio Damage updates Ronin to v1.5.2 (AU)

Related: , , , , , , , , , Posted in news on Jul 28, 2009 - comment 0 comments
Audio Damage Ronin

Audio Damage has released version 1.5.2 of the AudioUnit version of Ronin, a modular multi-effect plug-in for Windows and Mac.

Changes in Ronin v1.5.2 (AU)

  • There was a problem in Logic 8 and 9 where the preset names weren’t displayed correctly, and the presets couldn’t be incremented. This has been fixed.
  • There was a minor problem in all AU hosts where the routing matrices didn’t update correctly on preset changes and in some other instances. This has been fixed.

Ronin is available for Windows and Mac (VST/AU) for $49 USD.

More information: Audio Damage

Audio Damage announces Ronin 1.5 update

Related: , , , , , , , , , Posted in news on Jul 17, 2009 - comment 2 comments
Audio Damage Ronin

Audio Damage has announced version 1.5 of Ronin, a modular multi-effect plug-in for Windows and Mac.

The original returns! One of the long-deprecated Audio Damage products, Ronin hails from a time not so kind nor gentle. This remade version features a new UI, full compatibility with current plug-in standards, and on the Mac side, the best news of all: Universal Binary VST and AU.

What we didn’t change, however, is the sound. Featuring pairs of BBD-style delays, multi-mode filters, saturation, and LFOs, Ronin also is fully modular. You can route the effects however you’d like, including (if you feel like living dangerously) in to themselves. The audio path is entirely modular. Ronin also has an extensive control routing mechanism, including MIDI inputs.

Ronin features

  • Delay Modules: Modeled after traditional analog bucket-brigade style delays, the delays in Ronin pitch the signal when the time is changed, enabling pitch bombs, chorus effects, pitch-bend flanging, or tape-style delays with time flutter. Both delay modules have sync to host, infinite loop, and reverse modes, as well as positive (more than 50%) feedback for overloaded feedback effects.
  • Filter Modules: Ronin’s filter modules are multi-mode filters with notch, lowpass, bandpass, and highpass outputs continuously variable, and are capable of self-oscillating, for creating synth effects in high resonance situations.
  • LFOs: The pair of low frequency oscillators in Ronin have four shapes: sine, sawtooth, pulse, and random. The shape control continuously varies the waveform. The LFO rate is a mod destination, so the LFO can mod itself, for very extreme waveform shapes. Both LFOs can be synced to MIDI host, and the second LFO’s waveform can be reset by the first LFO.
  • Saturation Modules: Ronin features a pair of saturation stages, for everything from subtle smoothing to extreme distortion.
  • Routing Matrix: The matrices in Ronin enable full control over the signal path. Both audio and control can be routed as the user desires. In the case of audio, extreme patches are possible; nothing is forbidden. Want to route the filters back in on themselves? No problem. Want to insert distortion and resonance in the feedback loop of the delays? Help yourself. Ronin puts the routing in your hands.
  • MIDI Learn: Every control on the Ronin UI can be controlled via external MIDI devices. A simple key-click combination puts the UI element in learn mode; twist the knob on your controller and you’re done. Another combination removes it. Simple as that.
  • MIDI as mod routing: MIDI note, mod wheel, and gate can be used as mod sources, in addition to the MIDI learn mode. These are available as patch points in the routing matrix.
  • Envelope Follower: Another mod source is the envelope section, which creates control signals from the input level of the plug-in, with separate sensitivity, attack, and decay controls.
  • Optimized performance: Ronin features low CPU usage, on par or better than similar plug-ins, due to its fully optimized code.

The Ronin 1.5 update is currently only available for Ronin 1.0 users.

More information: Audio Damage

Audio Damage updates Eos to v1.0.1

Related: , , , , , Posted in news on Jun 18, 2009 - comment 0 comments
Audio Damage Eos

Audio Damage has released version 1.0.1 of Eos, a reverb effect plug-in for Windows and Mac.

Eos consists of three high-quality custom-designed reverb algorithms, made with the modern production environment in mind. Two different plate simulators and our own Superhall algorithm give you a broad palette of reverb, and the easy-to-understand interface makes adjusting the algorithms to suit your track incredibly simple.

Changes in Eos v1.0.1

  • Full tested compatibility with the FXpansion VST/RTAS wrapper on OSX and Windows.
  • The click apparent when the Infinite button was engaged has been reduced.
  • The volume gain when the Infinite button was engaged has been eliminated.
  • The Infinite function correctly disengages when the filters are changed. The button state was not reflecting this change; that has been fixed.

Eos is available for Windows and Mac (VST/AU) for $49 USD.

Visit Audio Damage for more information and audio demos.

Audio Damage releases Eos

Related: , , , , Posted in news on Jun 05, 2009 - comment 0 comments
Audio Damage Eos

Audio Damage has released Eos, a smooth, modern reverb with three custom-designed algorithms, optimized for low CPU usage and ease of programming.

Eos consists of three high-quality custom-designed reverb algorithms, made with the modern production environment in mind. Two different plate simulators and our own Superhall algorithm give you a broad palette of reverb, and the easy-to-understand interface makes adjusting the algorithms to suit your track incredibly simple.

Want a traditional dark plate reverb? Eos can do that. How about a short, dense room sound for your drum buss? Not a problem. But where Eos really comes in to its own is when you drop Superhall on your piano or synthesizer tracks. The incredibly long modulated hall sounds of Eno-style ambience are where Eos thrives, something that is made of unobtanium with convolution ‘verbs. Quite simply, an impulse response can not do what Eos does.

Eos features

  • Three custom-designed algorithms: Plate 1 (mono in, stereo out), Plate 2 (true stereo), and Superhall (true stereo) built with modern production in mind.
  • All standard reverb controls, including modulation rate and depth, attack, diffusion, and full control over the EQ and multipliers of the reverb tail.
  • Infinite control for “freeze” effects.
  • Unique visual controls designed for quick and easy programming.
  • Low CPU usage compared to other algorithmic reverb plug-ins, and far lower than the average convolution ‘verb.
  • Full MIDI learn for hardware control of most parameters (VST only).

Eos is available for Windows and Mac (VST/AU) for $49 USD.

Visit Audio Damage for more information and audio demos.

Audio Damage releases PulseModulator

Related: , , , , , Posted in news on Apr 03, 2009 - comment 0 comments
Audio Damage PulseModulator

Audio Damage has released PulseModulator, a model of an extremely rare (and exceedingly strange) tremolo pedal from the 70s.

Three LFOs effect the VCA at the same time, and the whole mess goes through a distortion circuit, resulting in strange… uh… modulating pulses of sound.

We’ve added tempo sync to the individual LFOs to make it more useful in a modern DAW environment, but otherwise left it pretty much as-is.

PulseModulator features

  • Pulse Speed: These three knobs control the rate of the individual LFOs. If the sync switch for an LFO is engaged (the “1″, “2″, and “3″ switches on the bottom) that LFO will be synchronized to host tempo and the knob will select different tempo divisions.
  • Pulse Depth: Perhaps unsurprisingly, these three knobs control the depth of the individual LFOs. That is to say, they control how much each LFO affects the dry signal.
  • Boost Amount: This is labelled as it is on the real pedal. However, the label implies a boost circuit, but in fact it was more of a fuzz. We’ve modeled it as a fuzz but called it “Boost” as well.
  • Pulse Shape: This controls the waveshape of all three LFOs.

PulseModulator is available as a freeware effect plug-in for Windows and Mac (VST/AU).

Visit Audio Damage for more information and audio demos.