sonicLAB has released Cosmosƒ, a dynamic stochastic synthesis tool for Mac.
Cosmosƒ is a real-time dynamic stochastic synthesis engine, which does generate sonic textures with a complex event distribution process. Discrete sonic events of certain density are distributed in a time space with their onset time and duration parameter calculated with stochastic/deterministic functions. Each macro event defines the duration of a meso space, and the sub events are distributed inside it.
The overall goal of these functions is to achieve control on each event space and perform the process of change on the appropriate operation level. The user intervenes with the system in real-time by inputting a sound source or accessing different type of synthesis/modulation generators and by controlling the parameters for the sonic event distribution on different time scales.
sonicLAB Cosmosƒ sound synthesis and composition software
Developed in C++ C++ is the right language to talk to the computer; means sample level precision and flawless operation, hardware accelerated graphics output.
Audio rate operation LFO’s , LineGENs etc. can operate with great speed and detail, such as this application offers peculiar sonic phenomena (FM, AM, oscillator modulation) and seamless connections in manipulating the timbre space in continuum.
Fast & intuitive interface No menus; so you can quickly organize processes, fast graphical visualization.
Cosmosƒ for Mac is available to purchase for 89 EUR.
Now there’s even more to discover thanks to free Spotify Apps. In a nutshell, apps bring you new and exciting music experiences built around your music tastes. Intrigued? Then say hello to Spotify Apps.
Thomekk aka Thomas Kallweit has posted a free sample pack with recordings of himself and his son.
The tj_voicenoise-kit is a sampleset with shorter or longer human voices with wave-files in 16Bit format (slightly processed through a compressor) for Battery 3.1 (+) and Kontakt 3.5 (+). If you want to use the samples in another drum-sampler please use the wav-files inside the Voicenoise-Samples folder.
Have fun being creative merry christmas and a hippie new year!
Upitup Records has released a free compilation album with tracks by Jonas The Plugexpert, winner of the first rekkerd sample remix contest back in 2008. Poekie, Jonas’ entry for the 2011 Moving contest, is also included on this album.
50:00 minutes of quality rythms, covering the whole range of BPMs. This is Jonas’s long awaited third release and second full lenght album for Upitup.
Jonas The Plugexpert is a very prolific artist with more than 10 albums to date and a very distinctive sound. He has been part of Upitup since the early beginning and we are really proud to release this quality album.
Includes tracks like Yannis, Blij, Poekie and the epic ending combo Ragg2 and Jah Is For You, that are already big classic anthems at the Upitup Headquarters!
Intermorphic has introduced Mixtikl 5, a generative music application.
Intermorphic Ltd today releases Mixtikl 5 Generative Music Lab, a unique combination of 12 Track Mixer, multiSynth, Live FX and Visualizer with Word display allowing social sharing of “mixtikls”, tweetable interactive generative music mixes that can include 140 characters of text and a range of visualization and display settings. Tweeted or email shared “mixtikls” can be played and enjoyed in the relevant variant of Mixtikl™ or Mixtikl Free. There are versions of Mixtikl for Apple® iPad®, iPhone®, iPod touch®, Mac OS® and Microsoft® Windows®.
With Mixtikl 5, Intermorphic™ has also made it much easier to create the ambient, relaxing and high quality generative music mixes that provide the musical backdrop for the mixtikl’s included text, which could be a reflective Haiku, a short poem, a greeting or other message. The mixtikl plays when it is imported to into Mixtikl on an iPad, iPhone or iPod touch, Mac or PC, or the Mixtikl browser plug-in and the recipient can then tap the screen to reveal the message and even play along. The tweeted or email email shared “mixtikls” include everything that is needed for playback, including the short messages, visualizer settings & play along generative music mixes.
None of the power of Mixtikl 4 has been lost, as the music mixes and new tap play instruments can also be totally customised with the powerful and comprehensive arrangement, sound, FX and parameter editors accessible from the Mixer screen in Mixtikl full. Sound designers and generative artists will be able to create completely unique, distinctive, shareable and interactive sonic experiences. With their “fun factor” and total customisability, mixtikls have the potential to become a new art form.
Mixtikl 5 is available for iPad / iPhone / iPod touch, Mac, and Windows (free editions also available).
Roland has announced R-MIX, a new era in audio processing software, giving recording professionals and those just starting out the tools to visually and intuitively manipulate stereo mix audio easily in real time.
Featuring the newly developed proprietary V-Remastering technology and the highly-acclaimed VariPhrase® technology, R-MIX allows you to see the individual components of a stereo mix as color-coded clouds of harmonic matter and to apply effects or center cancel exactly where and as you wish within the mix.
R-MIX can also help musicians learn songs by offering focused access to any desired instrument in the mix and the ability to slow down fast or complicated sections.
View the elements of a stereo mix as color-coded clouds of energy and frequency matter onscreen.
Freely select and manipulate any element within a stereo mix.
Create “minus-one” type karaoke files from existing songs by lowering the level of the pre-recorded vocal or any other instrument you select.
Create your own remixes and mash-ups by using two pairs of stereo tracks within R-MIX t Isolate any desired instrument within a mix, and then solo and slow down that element for study.
Clean up old recordings and master your stereo mixes by adjusting individual instrument levels within a mix and applying noise reduction and effects.
Yes, I create digital music, too. One of the things I’ve loved about CDM is the chance to share music making, from the construction of the tools to the production of performances and recordings. If that’s all we ever get out of music – getting to share with someone else – that’s already more than enough for me.
This week I’ve released my own End of Train Device, a full-length ambient / leftfield electronic album.
Barry Wood is back with another selection of interesting products showcased at the NAMM show.
Welcome to the 2011 edition of the NAMM Oddities …finally
This year the show went smoothly but due to a perfect storm created by of a pile of work (the paying variety), local politics, and the writing of my first now published book, the Oddities were nearly 4 months late.
There was no shortage of Oddities-worthy items at the show this year. Even though this is probably the last NAMM report to go online, I'm certain that there are a number of products that will see their press debut on these pages.
At first, it seemed like it might be just a blip: amidst generally declining sales of physical music, down sharply from their 1990s boom, vinyl sales were trending up. The reversal started with a slight uptick in 2007 – already noticeable as the CD had begun its collapse. That slight uptick has turned into a small boom. From a tiny 300,000 units in US sales in 1993, the vinyl record is projected to do some 3.6 million units in sales.
Radium is inviting you to have a look behind the scenes at the Radiumphonic Workshop. In the video below we delve under the bonnet of Radium to have a look at what makes it all tick – the sound lab operated by the fine team at Radium. It demonstrates a rare glimpse of how we work, as well as showing off some of the machines, technology, people and creative approaches we use to manipulate sound!
Computing technology is an inherently disruptive thing, wonderfully so. It solves problems you didn’t know you had. It creates problems, then creates new problems in even trying to understand those problems. Simply using a computer is a kind of design statement.
You’ve seen questions about what happens with computer performance and audience interaction. But, in AMALGAM, design student Jacob Lysgaard asks those questions, and proposes solutions, in a new way: with a giant talking robot face.