Percussa has released MIDIBridge2 r31, an update to the application for AudioCubes which generates MIDI notes and control changes that can be sent to any software or hardware supporting MIDI.
Mark Mosher found a very important bug to be fixed in MIDIBridge where the preset file loaded would not properly update the AudioCubes state. This has now been fixed. A big thank you to Mark! Check out his blog and work at modulatethis.com and his recent 9BOX template system for AudioCubes and Ableton Live at http://9box.modulatethis.com/
Besides this bug there are countless other improvements, one of the most visible is the SOLO checkbox which can be used to send the distance info as a MIDI control change only for the selected cube face. This is handy if you want to quickly MIDI-map a cube face to an effect parameter in Ableton Live for example.
The update is available from the the downloads section at Percussa.
Tracks like a zombie, but kicks like a mule – my first taste of yellow.
As Metasonix own video makes hilariously clear, you're never going to play Switched on Bach with the R54. Feed the Supermodule with the appropriate combination of CVs, however, and you can coax deep drums, watery plops, rubber basslines and tortured-animal sounds from this unruly, tube-based VCF/ VCO.
What can a new digital synth be in 2011? How will it work and sound? And given access to so many excellent tools, how can it stand apart?
In place of a press release and some marketing-speak, developer Christopher Penrose (Leisuresonic, Cosmovox) sent us an extended essay explaining his thinking behind his imminent SynthTronica synth for the iPad. Aside from getting into the nitty-gritty technical details, it cuts to the crux of the issue: how to make something personal and new that nonetheless can work for other people, and how that idea can be tailored to a tablet.
More free samples at Waveformless’ Free Sample Friday:
Today's free sample is a single sample of a Tibetan singing bowl. The singing bowl is essentially an inverted bell that is used by Buddhists to accompany meditation or chanting. It can be played either by rolling the padded mallet along the inside rim, or by striking it. The sample I'm providing is of a single strike. It's an extremely long sample that reveals just how this instrument got the name "singing bowl". The note of the strike is an E. 24-bit, 44.1k WAV sample. [6.07 MB]
A little something different this Friday… instead of free samples, today we have 50 free patches for Native Instruments Absynth submitted by reader Alan Stuart. You can download them directly from his website. Thanks, Alan!
# Dustland – Real-time Live performance by Diego Stocco.
"Dustland" is a cinematic sounding improv that I recorded with the Fence Bass. This instrument has a rough and edgy sound since it's all made of metal, so I imagined a piece that could work in a modern Western film, I'm a fan of the genre.
Everything is created in real time, no pre-existing loops, additional tracks or post-efx involved. I built a chain of processors in Live that I control with a pedal board, all rhythmic parts and ambiences are derived from whatever sound/noise comes from the Fence Bass. I hope you'll like it!
This animated short by Theodore Ushev is like a whirlwind tour of Russian constructivist art and is filled with visual references to artists of the era, including Vertov, Stenberg, Rodchenko, Lissitsky and Popova.
# Beep-it! – Michael Una's Beep-it! device, an optical theremin.
It outputs a square wave whose pitch is controlled by the amount of light striking a photoresistor. You control the pitch by casting shadows over the light sensor, or by pointing it towards/away from a light source. Flashing lights induce an interesting oscillating effect. A single momentary button turns Beep-it on or off.
There is an 1/4″ output jack for connecting to audio equipment like amplifiers, guitar pedals, recording, etc.
I’ve been a bit “heads down” working on all sorts of fun music projects over the last month and half and of course learning lots of new things along the way. As I work away, I always take a moment to shoot photos.
Short: MIDI-controlled 8-bit digital synthesizer and audio sampler
Long: Device generates several different sounds based on incoming MIDI Note On/Off, Pitch Wheel and Control Change messages. Default waveforms are Sine and Square. An audio sampling function is available to record custom waveform samples that can then be played-back similarly to Sine and Square waveforms (think Impulse Tracker or Scream Tracker or any other tracker from 1997). Audio input is switchable between on-board microphone and external 4-conductor headset jack.
Free sample pack by dubstep forum user Project EX:
A small collection of kicks, recorded and collected by me. No processing on the kicks, just normalized. Will try to make some more samples at some point. Will get it on the sample swap when it's back up.
Mark Mosher has launched the 9 Box Method micro site, an on-line guide and library for Mark’s “9 Box” methodology.
What is the “9 Box” Method? A system developed by electronic music artist and synthesist Mark Mosher that allows for performance, improvisation, and spontaneous tribal jams with music, sound, and light.
9 Box offers a consistent and transportable method that overlays commercially available components such as Ableton Live, and Percussa AudioCubes. It’s also a set of templates and patches that will allow players to spend more time making music and sound than configuring hardware and software.
The first edition of 9 Box will be based on 6 Percussa AudioCubes. After that I’ll be working on a Novation Launchpad editon.
Touchscreens? Good, old-fashioned faders, knobs, and pads? Why not just use what suits the job – especially when you can choose both on the cheap?
Nay-Seven shares some of his latest work with Usine, the brilliant, modular and touch-centric tool for Windows. It’s a futuristic rig that’s also down-to-earth. Touchscreen monitors can be had for around US$300 street, and the Akai LPD8 and Korg nanoKONTROL controllers each figure under a hundred bucks. Usine, the software, is a bargain for its depth at EUR120, and free and educational versions are available.
Nay-Seven: Here a work where i use the sequencer of Usine not to sequence audio or midi but patches : patches appear only when i need them , easy way to have only the controls you need on the screen, i also associate here works with faders and pads via personal patches for lpd8 and nano kontrol and the use of a touchscreen . Made with Usine ( sensomusic.com ) thanks also to Michael Ourednik for his great vst Argotlunar
Here is my 365 days project. Every day I will compose/produce and upload here one drum break in CD quality format. It's simple – use it the way you want it. all files are copyrights free. This is not commercial project but if you like my work click donate button. have fun !
They had fame, reams of money, and fans willing to do wild, unmentionable things just to breathe the same air — but in 1971, LIFE illustrated a different side of rock stars: Just like most of us mere mortals, they came from humble backgrounds, with moms and dads who bragged and worried about them every day. Assigned to take portraits of the artists at home with their sweetly square folks, photographer John Olson traveled everywhere from the suburbs of London to Brooklyn to the San Francisco Bay Area, capturing in his work the love that bridged any cultural divide that may have existed between his subjects. Now, as a special treat for Mother's Day, LIFE.com brings back Olson's nostalgia-inducing photos — check out the awesome '70s decor! — and talks with the photographer himself about his memories of those shoots.
Includes pictures of Frank Zappa, The Jackson Five, Joe Cocker, and more.
It's the weekend! To celebrate, here are 12 snare drum samples that have been distorted in various ways. Some of the distortion on these is so extreme that the transients are pretty much totally sheered off, so if a particular snare doesn't have the oomph you want, try layering it behind an undistorted snare. 12 stereo samples, 24-bits, 1.3 MB.
Writing about and reviewing products is a subject that is brought up in forums and reader correspondence, and it generally follows the same story. Someone has read a magazine, got annoyed because 98% of the products got at least 8/10 ratings and/or a fancy award. Conclusion – the reviewers are in the pockets or the advertisers or simply bribed.
After working in the publishing business as a daily job for many years, I have to say that – sadly – I still haven't met a music technology journalist who drives a BMW or bloating around in a Hummer.
Writers in this genre are not bought, nor incompetent.
Carl brings up some excellent points in this article.
I generally don’t post any reviews of products I really don’t like. I just can’t be bothered to spend time on something really bad… Seems Tom at Waveformless is a different kind of reviewer… (not really of course, just pulling your leg, Tom)
On December 17th, 2010 I released the Sounds from a Distant Outpost FREE Live Pack.
Now, a little over a month later there have been over 1,000 downloads from http://www.outpostexperiment.com/!
The most exciting thing for me is that a two people have REALLY dug into the 12 instruments in the Live Pack and have taken the time to compose tracks using ONLY instruments from this pack.
I’ve attached their two songs plus a third I created below. It’s pretty fantastic that while we didn’t directly collaborate all the works are quite different yet sound they all sound like they are telling stories from the same universe.
Mark Mosher has announced the launch of the Modulate This! Patch Lab micro site, offering free patches created from scratch.
I’ve had a passion for programming synths and working with samplers for over 20 years. I’m constantly experimenting and creating new patches with a large variety of electronic music instruments. I’m also creating original harmonic content via field recordings and re-synthesis.
While many of these patches are used in my original music and sound compositions, I have a lot of patches that have yet to be used. This led me to thinking of ways I might share my past and future patches and samples so you could use them in your work. I also hope that these listening to these sounds, reading my notes, and spending time to reverse engineer these patches will help inspire you to go deeper with synthesis and sound design so you can add unique sounds and timbres to your music and sound compositions.
The Patch Lab patches will be available under a non-exclusive royalty-free license.
This pack contains a selection of loops perfect for the creation minimal, acid and techno music (Or whatever you want really).
In the pack: 8 303 loops (Square), 8 303 loops (Saw), 8 303 loops (Dist), 8 909 loops, 8 808 loops, 8 Acid bass loops. All the musical parts are in Am and the tempo of all the samples are at 120bpm. All the loops and samples in this pack are free to use in whatever project you want.
Mark Mosher takes Green Oak’s Crystal for a spin on both the desktop and iOS, and shows how to share patches between both synths in a useful “Patch Sharing Step-by-Step”.
These instructions are in an edit of the original instructions at the bottom of this page. Green Oak’s instructions are accurate but assume you know your way around iTunes and Crystal so there are some gotchas. I’ve added some more detailed notes and steps (in red) to help fill in the gaps. Even if you only want to transfer patches from desktop to mobile, I recommend you go through steps 1-3 anyway so you’ll have a bank with the proper name an in the proper format.
Mark Mosher of Modulate This! has released Sounds From a Distant Outpost, a free Ableton Live Pack.
Sounds From a Distant Outpost is more than a sample sound library. Over 30 hours in the making, it is a set of 12 deep and expressive instrument racks that will transport you to a dark and distant outpost. From here you will be able to explore the sounds, machines, and creatures of this world. These instruments will help spark your imagination and I hope inspire you to create your own soundtrack for this world. Of course, the instruments will also help add an interesting “edge” to any sound or music project.
The source audio is made up of some of my field recordings as well as original synthesized and re-synthesis harmonic content. The concept for the instruments was based on a back-story I created as the project progressed. Fueled by the story and setting, I translated these these source samples into Ableton Live racks and meticulously programmed them to create playable dynamic instruments which are placed under your command via macro parameters, velocity, after touch, and modulation wheel mappings. I’ve also provided the original source samples for the project so those who don’t have Ableton Live will be able to use these samples as oscillator sources in synths like Absynth, Alchemy, ElectraX and Blofeld.
Sounds From a Distant Outpost is available as a free download for Ableton Live 8 and Suite 8 (Intro not supported), and a pack of samples for use in your sampler of choice is available as well.
Spoon Organ is an instrument that I created to show at the Make Tokyo Meeting 06 this past weekend. The user can play musical tunes simply by touching a row of spoons sitting on a table, with a fork added in for good measure. A microcontroller is used to detect changes in capacitance caused by a finger pressing against the metal, which are then sent to a computer using the MIDI protocol.
Mark Mosher is preparing a holiday gift and you can let him know which synth format has your preference.
The elves at Modulate This are working on a holiday gift for you – a free sound pack! As you know it's a busy time of year for elves, so we need some feedback on where to focus our sound design magic. Ableton Live 8 Livepack format is a given. Also, you can download last year's holiday gift here.
She’s a composer, a sound designer, a performer, and a violinist; she’s recognized as an expert in Ableton Live and has worked with artists ranging from Cirque du Soleil to Kanye West. But now we really get to hear Laura Escudé’s musical vision as a complete picture in her debut album this year, Pororoca. That seemed the perfect time to talk to Laura about her work, particularly as it lies at the intersection of vectors in sound, visuals, and technology that matter so much to so many of us. Laura shares where she sees the music scene going, her own evolution in finding her sound and performance style, and what still lies ahead, and proves – as expected – a fantastic resource for thinking about issues artistic and technological.
Looks like some of Laura’s favorite software instruments are the same as mine, including Rob Papen synths (especially BLUE), Native Instruments Massive and Reaktor, and u-he’s wireless virtual modular Zebra synth.
Jethroe has posted a free Ableton FX rack which will help you get some of those dirty dub sounds.
He also posted a couple of other interesting Ableton related things recently. Wondering how to warp multitrack audio files in Ableton Live? Check here. Also, a variphrasing in Ableton Live step-by-step here.