Native Instruments has introduced Raw Voltage, a new MASCHINE Expansion which captures the sound of a huge modular synthesizer system.
For instant use with MASCHINE or MASCHINE MIKRO, RAW VOLTAGE contains kits, instruments and patterns that share the unique, rich and organic sound characteristics of analog synthesis.
The sounds inside RAW VOLTAGE range from grainy, noisy and raw to sleek, cool and clinical. Sampled from a one-of-a-kind analog modular system, RAW VOLTAGE has a wide sonic scope, inspired in part by experimental and avant-garde electronica. The drum and percussion sounds are punchy, loud and direct, while the sampled basses, leads, pads and soundscapes are rich in detail and analog atmosphere. The expansion also includes 140 expertly-programmed patterns, providing a wide selection of styles from broken, jagged rhythms to steady, flowing grooves.
RAW VOLTAGE is designed to evoke the sound and character of modular analog synthesis inside MASCHINE, combining these unmistakable sounds with the renowned MASCHINE production workflow. The kits and instruments provided cross genre boundaries to inject analog feel into any musical project – from techno to hip-hop, electronica and beyond.
RAW VOLTAGE is based on a unique custom modular system used and created by Norwegian synthesis expert Roger Grønberg (Frodebeats). The system includes modules from Modcan, MOTM, Oakley, CGS, STG, Encore, Buchla plus many unique custom and DIY modules, as well as analog synthesizers like Arp Odyssey/2600 and Korg MiniKorg 700s.
A compact version of RAW VOLTAGE is also available for iMASCHINE – the groove sketchpad for iPhone® / iPod Touch®.
Raw Voltage is available to purchase for $59 USD/49 EUR. A compact iMASCHINE version of Raw Voltage is available via the iMASCHINE in-app store for $0.99 USD/0.79 EUR.
Ongelegen has released Metal Scratch, a free sample library featuring binaural recordings of metal scratches.
This fourth library of The Binaural Collection consists of metal scratches. The recipe for this pack was simple: a metal housing from a deceased tape deck and a few sharp and blunt objects to ruin the surface of the housing.
I tried to capture all the nuances of the sounds and make the sounds as big as possible without any additional processing so I close mic’ed them with the front perspective of my dummy head.
Binaural sounds made by scratching up the housing of an old tape cassette deck.
Metal Scratch features
126 metal scratches, recorded and edited at 24 Bit/96 kHz WAV.
Embedded metadata (BWF MetaEdit).
Recorded with Fostex FR2 – DIY Dummy Head (EM158).
128 MB content (unpacked).
The sample pack is available to download at no cost.
Roland Kuit has announced SoundLab II, a new e-book on modular sound design.
New tools to individualism. While making these patches I became aware of the fact that there are so many fields, like e.g. astronomy, mathematics, DNA research, IT development and neurotransmitters, with comparable functionality. It is in the way these fields are organized that we can recognize patterns.
What amazes me is the connectivity and parallels, in so many fields finding its way into modular sound design now, by cabling these findings into patch architectures. It was a challenge and especially fun to bring and connect this fields together. Certainly it will be a challenge for everybody’s creativity in finding new ways in modular sound design.
This e-book is not for lower level users. The modules are not going to be explained. The patch structures with accompanying text and order explain a way of thinking by themselves. You always can consult the G2 Editor help-file. Patches, or parts of patches can be copy/pasted to new patches and/or performances to get new structures.
SoundLab II features
Oscillators: New structures to create sound. Extended and constructed oscillators.
Filters: Extended and DIY filters.
Shapers and audio: New forms to shape your audio.
Logic: All kind of logic experiments. From 1D to 3D ON/OFF architectures and logic sound structures.
Patterns and sequencers: Extended and DIY stuff, all you missed till now.
Miscellaneous: A lot of thoughts about a lot. DIY Lfo’s, EG’s. granular, Sync, RM, FM and much, much more.
Audio processing: New structures to remodel and mangle audio. From soft to hard distortion. Extensive echo-reverbs, mangling- and Glitch architectures.
All DIY ways to construct your own audio context.
Over 700 patches.
G2Demo software included.
And probably a few free future updates.
The SoundLab II e-book is available to purchase for 125 EUR. SoundLab I users get a 20% discount, and bundle of SoundLab I and II is available at a 20% discount as well.
Keith McMillen Instruments has introduced the QuNeo, the next generation of music software and hardware controllers for electronic musicians, DJs, VJs and DIY hackers.
Redefining music production and performance, QuNeo (pronounced kyoo-ne-oh) covers all of the functionality of other controllers, while adding the power of extra dimensions. Quneo provides 27 pads, sliders and rotary sensors with 3D Multi-Touch recognition for pressure, velocity, and location sensitivity, which allows musicians playing electronic sounds to change their timbre (quality, brightness and volume) the harder or softer they are played by simply varying touch pressure. The pads are also responsive to X (left – right) and Y (up – down) and recognize multiple gestures for pinching and swiping.
Previously with first generation products, controlling music software and hardware was limited. You could only hit a pad, twist a knob or push a button to manipulate sounds and effects. KMI has resolved these restrictions with its innovative next generation line of Multi-Touch controllers: SoftStep, 12 Step, and now QuNeo, that transforms musical intent into audio through physical control of 3D Multi-touch sensor technology.
The Size of an iPad: QuNeo is the size of an iPad 2 and fits in iPad accessories such as clips, stands and more.
3D Tactile Pads, Sliders, Rotary Sensors and Switches: 27 pads, sliders and rotary sensors that are pressure, velocity, and location sensitive, with 17 switches responding to how hard you press.
LED Light Feedback: a remarkable lumination scheme combines variably diffusive elastomers with 251 multi-color variable brightness LEDs providing visual feedback that is immediately responsive and delightfully informative.
Class Compliant and Open Source Development Kit: QuNeo works with USB, MIDI or OSC and will communicate with your favorite music software environments right out of the box. More advanced users and programmers can download the development kit to create their own code to respond to QuNeo’s sensor data.
The QuNeo is scheduled for release in March 2012. It is currently priced at $200 USD for pre-sale at Kickstarter.com
Brett Park of Shiverware wrote to share news about Rainboard, a DIY dynamic isomorphic keyboard.
The Rainboard is a 61 button isomorphic keyboard. Each button contains a RGB led in order to light up the button. A midi value is also mapped to each button. The colours and midi values of the buttons are set from an external source (currently the Musix iOS application, but could easily be set by any serial midi device) using sysex messages. This allows the layout to be change very rapidly. All that needs to be done is to use Musix to select the desired layout on screen and push a button to send the data to the Rainboard. The Rainboard then sets all the LEDs and midi values then stores these values in EEPROM to save settings across resets so the external device is not needed after the desired layout is set.
When buttons are pressed the note values are sent to an onboard midi instrument shield in order to produce sound via a 1/8 inch audio jack. As well, the midi values are sent to Musix (with note identifier values rather than midi values). This allows Musix to know exactly which button was pressed if multiple notes of the same midi value are present on the board. Musix can then use it’s built in synthesizer to play the music or it can send the data on to other iOS apps to synthesize the audio (such as NLogSynth, Arctic Keys, or SampleWiz).
Owing to the Arcophone Mk I being stuck somewhere on the Nullabor owing to damage to train tracks from the recent rains.
As we had a gig at Scitech we needed a new Arcophone, using the prototype batch of v1.2 coil drivers, Brett, Simon & Daniel spent the better part of the last week building the Arcophone Mk II. The case was designed and cut by Simon Kirkby and the electronics designed and assembled by Brett Downing and Daniel Harmsworth.
“Gem Drops” is a rich, varied compilation covering “experimental electronic hip-hop inspired” music, with artists such as Anenon, yuk., Juj, Devonwho, Shigeto, and Sumsun. The 21 tracks were selected by curator Aaron Meola. It’s the sixth release from the collective Dropping Gems, and 100% of revenue will go to the American Cancer Society.
Pay what you want for the download; a “very limited” run of handmade CDs with artwork will go to people who donate US $15 or more.
Turning data strings like DNA and what-not into audio can produce interesting results. YouTube user r2blend says, "If you import an EXE file into an audio program as audio data, you hear all kinds of cool stuff. The most awesome by far for me was MS Paint." Fisco130 then made a club remix of the MS Paint data audio. Wonder if any scans of great works of art contain secret music? Does malware translate to sad trombone sound, or Rick Astley?
If you haven't checked it out yet, head on over to the Programming Tips section of the Waveformless-Soundware site for 10 random programming tips on programming your own sounds for ReFX Vanguard.
The plan is to post programming tips for different softsynths as I release new soundsets. And yes, I am hard at work on the next release. No idea when it will be done. I'd rather get it right then get it out right now.
This EMS Putney came into my hands when I purchased it from Iowa City South East Junior High School in 1997. It is one of the unique artifacts of electronic music. The Putney & it’s close relative, the attache-case-housed Synthi, were workhorse synths at the BBC Radiophonic Workshop, and was a favorite of musicians like Brian Eno, Pink Floyd, and other Space Rock bands of the 70s.
It’s sonic character derives in large part from the cheapness of the design and construction. Moog Synthesizers were laboratory grade audio equipment; the Putney is cheap and difficult to use in a traditional musical context. And yet it was seductive. It’s limitations and imperfections enlarged musican’s ideas of what sounds could be musical.
Delia Derbyshire was one of the pioneers of electronic music during and after her tenure at the BBC Radiophonic Workshop. She was both a gifted composer and an audacious and precise engineer. Since seeing her in documentaries, and hearing her music I’m both awed by her and have a synth-geek’s crush on her. She was on my mind as I recorded these pieces, and I dedicate them to her memory.
The 5 parts of this piece were recorded in one evening, with no editing or overdubbing. The Putney was plugged into the Stereo Memory Man pedal, and the pedal was plugged into my computer.
The only post processing applied was normalization. These recordings are as close to the original, raw sound of the instrument as I could make them.