Boxed Ear has announced the release of Tempest vs MPC60, a free sample pack made with two of Roger Linn’s most coveted drum machines, the Dave Smith Instruments Tempest and the Akai MPC60.
Two classic drum machines, both designed by “the father of the drum machine” Roger Linn. The MPC60 is a sampler first released in 1988 and is considered one of the major contributors to the development of hip hop music. The Tempest is a modern analogue/digital hybrid drum machine released in 2011.
We thought it would be fun to bring them both together by synthesizing pure analog drum sounds on the Tempest and sampling them into the MPC60 for that tasty 12bit digital crunch.
Tempest vs MPC60 is free and is available now from the Boxed Ear website.
Peter Kirn talks to the people responsible for one of the most exciting things over at the Winter NAMM show, the Tempest drum machine – Roger Linn and Dave Smith.
In songwriting, there was Rodgers and Hart, Gilbert and Sullivan. In music gear design, it’s hard not to assign a similar degree of expectation to the pairing of Dave Smith and Roger Linn.
Between them, these two designers have been a major part of what music technology is today. Dave Smith pioneered MIDI (even giving it its acronym), the first microprocessor-based instrument (the Prophet-5), the first programmable polyphonic synth, and other innovations at Sequential Circuits. Add to that landmarks in physical modeling research (at Yamaha) and the first PC soft synth. Roger Linn built the first programmable sampled-sound drum machine and with the LM-1, LinnDrum, Linn 9000, and his work on the MPC60 and MPC3000, introduced workflows and ideas in drum machines we now take for granted. It’s not easy to overstate the contributions of either designer.
This is Compilation Video V2.2 (updated January 2011) of sound sculptures and installations by Swiss artist Zimoun. I can watch this for hours.
Zimoun's sound sculptures and installations are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic».
He is interested in the artistic research of simple and elegant systems to generate and study complex behaviours in sound and motion. He creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.
Dave Smith and Roger Linn have announced the Tempest, a new analog drum machine, introduced at the 2011 NAMM Show.
Tempest is a collaboration between Smith and longtime friend and fellow instrument designer Roger Linn. Though they’ve consulted with each other on past projects, Tempest marks the first time a product will carry both the Dave Smith Instruments and Roger Linn Design logos. “If you’re going to make a drum machine, who better to have in your corner than Roger Linn?” said Smith, referring to Linn’s legacy as inventor of the digital drum machine.
Though Smith is also responsible for some fine drum machines—most notably Sequential’s DrumTraks and Studio 440—Tempest is his first to utilize analog synthesis to generate the sounds. “We’ve designed a very flexible new synth voice for Tempest,” said Smith. Linn added, “The design of Tempest reflects a rethinking of what a drum machine needs to be in the current era. It’s not so much a drum machine as a new musical performance instrument for the creation, manipulation, and arrangement of beat-oriented music, with an intuitive and efficient use of human gestures.”
Tempest’s 16 velocity- and pressure-sensitive pads are arranged in an 8 x 2 array to facilitate both real-time and step entry of beats. Two pressure- and position-sensitive Note FX slide controllers provide a unique new method of performance and control.
“We’re very excited about Tempest,” said Smith. “It’s an instrument with a lot of personality and it’s great fun to play. It has been a long time since there has been anything new in the drum machine world.”
Tempest is expected to be available by June 2011 with a projected MAP of $1,999 USD.
Roger Linn Design has released Windows Version 2.0.3 Beta 6 of AdrenaLinn Sync V2, an effect plug-in that transforms your input signal into dramatic rhythmic patterns of filtered, resonated, chopped, pulsed, spiked, sequenced, looped, delayed and otherwise manipulated tones.
AdrenaLinn Sync is a software plug-in from Roger Linn Design that provides the same unique beat-synced filter modulation and sequencing effects of our AdrenaLinn III guitar pedal, plus quite a bit more. Though intended for guitar, it adds fascinating rhythmic tonal effects to any instrument or processed audio.
Roger Linn Design AdrenaLinn Sync V2
AdrenaLinn Sync v2 for Windows is a 32-bit plug-in that works in both VST and RTAS formats in Windows XP, Vista and 7. If running on 64-bit Windows XP, Vista or 7, you’ll need to use the 32-bit bridge feature that exists in most 64-bit host DAWs.
Roger Linn Design has released version 2.0 (beta) of AdrenaLinn Sync, a software plug-in that provides the same unique beat-synced filter modulation and sequencing effects of the AdrenaLinn III guitar pedal, plus quite a bit more.
Though intended for guitar, it adds fascinating tonal effects to any instrument or processed audio. First released in October of 2009, we listened to your feedback and are now releasing AdrenaLinn Sync Version 2, a dramatic improvement over the original. And it’s free to all purchasers of the original version.
Changes in AdrenaLinn Sync v2
Warm, punchy and faithful emulations of analog lowpass, bandpass and hipass filters, as well as superb analog phasor and flanger emulations. The flanger is excellent at tuned resonances and the phasor can provide beautiful clangorous tones when highly resonant, for presets like Toy Piano and Steel Drum Ensemble.
3D rendered user interface, mimics the controls and textures of the AdrenaLinn III pedal. Highly functional control layout clearly shows audio and modulation paths.
100 new presets, optimized for the new V2 filters, and now able to be selected or saved from the plug-in’s panel. 28 empty preset slots are also included for saving your own presets.
Stereo Beat-Synced Delay up to 32 Seconds / 8 Bars — Play 8 bars of accompaniment, then listen to it while playing 8 bars of solo, then listen to that solo while adding another 8 bars of chords, and so on. With Feedback at full, it loops indefinitely.
Limiter improved for faster attack and greater transparency — Levels out resonant filter peaks and also adds sustain, providing longer chords and notes for the rhythmic effects to chop and slice.
Unlike the original version, version 2 no longer uses Cycling 74′s Pluggo technology. This means that unlike the original AdrenaLinn Sync release, version 2 works fine in Cubase and also in Live 8 when Max For Live is installed.
AdrenaLinn Sync is available to purchase for PC and Mac (VST/AU, RTAS coming), priced at $99 USD. Version 2 is available to download as a 21-day beta/demo version, final release scheduled for early June.
Roger Linn has posted his research project LinnStrument, a new musical instrument prototype.
If you’ve read my (Roger’s) New Musical Instruments page, you know that I’m interested in the idea of new musical instruments that overcome the limitations of traditional mechanical instruments. My particular interest is in a new instrument that while capable of entirely new sounds and playing techniques, is also able to reproduce the sounds, virtuosic performance capabilities and subtleties that we’ve come to know and love from traditional musical instruments, but without all their problems and limitations.
I’ve come up with a prototype of an instrument design that I like. Here’s a brief video of what I’ve got so far:
The low cost multi-touch, pressure-sensitive, high-resolution input surface used in this prototype comes from TouchCo, which was bought by Amazon in January 2010 in order to add touchscreen technology to Kindle.
Alas, until someone else comes up with a similar touch technology or Amazon decides to make the TouchCo technology available, development of our product will be limited to refining our Max/MSP patch. One promising new technology we’ve evaluated is a touchscreen from Stantum (same company as JazzMutant, makers of the Lemur) that senses surface area of your fingers, which is not a bad alternative to sensing pressure because your finger surface area increases as you increase pressure. However, I found that their current resolution wasn’t high enough for what I’m trying to do, plus true pressure sensing is better for musical control.
There are those who will throw away their old record covers but there are those that will use them to create some mind blowing artistic stuff.
One of them is definitely Christian Marclay, a New York visual artist, DJ and composer who used record covers of Michael Jackson , Doors, Donna Summer, David Bowie and many others for this piece of art. The relationship of sound, vision, music, art and performance is the focus of his work.
It's hard to believe another weekend is upon us, but it is, so here are some more free samples to get your weekend off to a good start. This time, it's a set of 21 24-bit synthetic percussion sounds I made on my Sequential Pro One
Say you’re an up-and-coming crew with a turntable and some mics. You’ve got a gig this Friday at the middle school gym (the janitor has been bribed appropriately) and the boys on the corner have been passing out your flyers to all the lovely ladies. Everything’s set, except you heard that Kool Herc is coming to battle. Herc and his mighty sound system schooled you last go-round, so you know you need something fresh to rock the bodies proper. Your DIY solution? The 55-gallon drum sound system.
The Control Centre has posted a sample pack features 38 piano samples in 44k 16 bit mono format.
This samplepack contains 3 pianos I recorded to tape in 1998. A Baby Grand, a Fender Rhodes and an old upright a friend of mine had in her back kitchen. I recorded the pianos using a Tascam 244 Cassette Portastudio and a Shure SM58 microphone. The Fender Rhodes was recorded to tape directly from it's line output. The recordings were then sampled using a Yamaha A3000 sampler.
I recently exported the samples from the A3000 sampler to my laptop computer via floppy disk, and then imported them into Ableton Live's Sampler. To save each piano into your Live Library, load the project, then save each sampler as a preset inside Sampler's preset browser. Live will copy the samples to your library automatically.
If you don't have Live 8 and Sampler, you can still use the samples to recreate these pianos in your choice of software.
The "Octapult" is a kinetic sculpture designed and built on commission by Bradley N. Litwin of Philadelphia, PA. With 8 synchronized catapults, 160 plastic balls per minute are launched, caught, and recirculated. Made mostly of wood, the work is ~36 inches in diameter. On permanent display in the lobby of Lower Merion Elementary School, Merion Station, PA. Also a performing jazz musician, more of Litwin's work may be seen and heard at www.bradlitwin.com.
XEROWorld is the next phase in the evolution of online arts & entertainment — a totally new and unique web destination that seamlessly integrates social networking, interactive events, magazine style-news, and online malls.
Kyle Evans modified a didgeridoo to experiment in the combination of the organic sound qualities of a didgeridoo with the advanced signal processing capabilities of modern computer programming and sound synthesis.
This custom built didgeridoo features externally mounted modules that allow the performer to process and manipulate the sound of the instrument in real time. All control data is transmitted wirelessly via blue tooth and is controlling several audio processes created in a custom-built software environment.
Synchronization is, by definition, a tough thing to do. But musical engineering is replete with challenges; it’s no longer acceptable to simply say “live with it” and walk away. It seems we need both better shared knowledge about what sync is how to make it work, and better engineering solutions on the software and protocols side to support the way users want to work. And yes, we need a new sync standard that goes beyond what’s presently available in MIDI alone
Tunited is a groundbreaking new independent music website which will assist new and independent artists and labels gain increased exposure, challenging the flagging music business’ growing reluctance to invest in this exciting area.
The top 100 artists will upload their music catalogue onto the website prior to launch; it will then be made available to the press and music industry for showcasing before the site goes live.
To become a profile artist, please click on the button below to enter your details and upload your track before midnight on 11.12.09. Your music will be judged by Tunited's panel of experts including Midge Ure OBE.
Josh made a LED sign which displays voicemails from his Google Voice account.
I made the LED sign following instructions from this tutorial on Nerdkits.com. The hardware is some LED’s, a nerdkit, a piece of cardboard and a bit of wire that I got from some Cat 5 cable laying around. I cut out the cardboard and printed a grid to help me lay out the LED’s. I think mine were 1 cm apart. The soldering took forever and it was the first real time I did any soldering so it looks kinda crappy. Oh well. It works. The sign itself is powered by a 9 volt battery and receives data from my laptop through the serial port via a USB adapter. All that stuff was included in the Nerdkit when I bought it. The microcontroller is running code from the tutorial I mentioned earlier. One of these days I’m going to make an enclosure for this thing.
Roger Linn Design has released AdrenaLinn Sync, a new software plug-in that provides the same unique beat-synced filter modulation and sequencing effects of the AdrenaLinn III guitar pedal.
Roger Linn Design AdrenaLinn Sync
AdrenaLinn Sync features
More Control — More parameters to fine-tune your filter modulation and filter sequencing effects.
More Randomness — Random sequence generation, random LFO amplitude, plus variable probability of randomly-generated notes or envelope firing.
More Swing — In additional to half or full swing timing for sequenced notes, you also get on randomly-generated notes.
Noise source for Self-Generated Noise Beats — Use noise with the sequencer to create synthesized drumbeats, or to excite resonant filters into self-oscillation.
2 Simultaneous Modulation Paths — Separately route LFO & Sequencer, or Sequencer Level & Sequencer Envelope, to individual levels of filter frequency, volume and pan modualtion.
Full Stereo Signal Path — Maintain full stereo from input to output.
Self-generating sequences — Increase resonance to full for self-oscillating filter or flanger, then use the Sequencer for random or looped self-generating note sequences.
Musical Scale Constraints — Snap the LFO or Sequencer modulation signals chromatic, major, minor, pentatonic, blues, whole tone, diminished or seven other musical scales.
Tube-Modeled Distortion — A very warm and smooth distortion with pre-hipass and post-lowpass filters.
Stereo phaser — A rich, 4-stage stereo phaser.
10 Second Stereo Delay with Ping Pong — Makes your beat-synced delays and delay loops more useful. Delay loops as long as 8 bars in length (up to 10 seconds).
Clean & Simple User Interface — Clearly shows signal flow and modulation routing.
128 Great Presets — Includes all of AdrenaLinn III sequenced, random and modulation presets, plus some new self-generating pitched sequences and noise drumbeats.
AdrenaLinn Sync comes in a single format that works for VST, AU and RTAS formats. It is currently available only for Mac OSX, with a Windows version coming soon. It is available to purchase for $99 USD.