Sound Guru has released Logic’s ES2: Basic to Intermediate Synthesis, a video tutorial series.
This series of videos starts at the basics, and continues all the way up to pro-level synthesis. After introducing the concepts of subtractive synthesis and going through the ES2′s features, it moves on to apply these principles in 18 sound design video workshops.
The workshops teach you to make sounds from many genres of electronic music including House, Techno, Drum and Bass, Electronica, Film soundtracks and more. Crucially, you will learn not just the hows, but the whys of synthesis, allowing you to make sounds from scratch. With over 2.5hrs of HD video, you’ll learn how to make killer bass, spacey pads, weird fx and more.
Logic’s ES2: Beginner to Intermediate Synthesis is available to purchase for £21.99 GBP.
Avid has announced its line-up of technology demonstrations and customer presentations scheduled for the company’s booth (#1018) at the 129th AES Convention from Nov. 5-7 at the Moscone Convention Center in San Francisco.
The sessions will provide attendees with a look at an array of new audio solutions that support open, collaborative audio workflows for use at home, in the studio or on stage.
Avid guest speakers will include Butch Vig, Garbage drummer and Grammy winning producer of Green Day’s “21st Century Breakdown,” and Dave Hill, founder of Cranesong and co-developer of Avid’s HEAT software, among others. Sharing stories and best practices honed from years of professional experience, these speakers will share audio workflow tips, behind-the-scenes production details, and impressions about how Avid has taken what we’ve heard from our customer base and delivered on our promise to provide open, flexible solutions for interoperable production environments.
In addition, a series of main stage demonstrations will include a:
Tour through the creation, tracking and mixing of a song while moving from laptop, to desktop, to studio platforms
Post production sound demonstration based on HBO’s Emmy award winning series “The Pacific”.
Technology preview of Avid’s MC Mix, part of Avid’s Artist Series of consoles (formerly Euphonix Artist Series) running on a Windows 7 system.
Rotating technology demonstrations on Avid’s main stage and show floor will showcase audio innovations for independent and studio professionals, featuring:
Open, flexible workflows in interoperable environments
Best-in-class audio solutions, including:
Pro Tools HD Native, the newest addition to the Pro Tools family that harnesses faster CPUs to deliver customers the industry-leading capabilities of Pro Tools HD with native, host-based performance
Pro Tools HD IO, OMNI, and MADI converters for best in class A-D/D-A conversion and the highest sound quality
HEAT software, a revolutionary software add-on that brings the warmth of analog components to the Pro Tools│HD mixer.
Mbox family of portable recording solutions, providing new A-D/D-A converters, cleaner preamps and improved drivers for Pro Tools and third-party DAW support.
Artist Series and Pro Series Consoles, streamlining production with award winning ergonomic control.
Also appearing at AES as part of the workshop and seminar series, Avid’s Robert Scovill will present as part of an Economics-Driven Change of Touring live sound seminar on Thursday, November 4 and a Live Monitoring and Latency with Digital Audio Networks workshop on Friday, November 5. In addition, Avid’s Sheldon Radford will participate in an Audio/Video Bridging (AVB) product design panel discussion on 11/5. And in addition, Engineer Billy Bush and founder and CEO of Sonic Magic Studios and post mixer Jonathan Wales will be making an appearance on the Avid booth’s main stage, speaking to the strength and flexibility of Avid’s new HD solutions.
Ableton and Novation have announced a new tour in the Live Beats Series.
After several successful events in the USA and Portugal earlier this year, the Ableton and Novation Live Beats series is touring Europe this September, with 14 events across eight countries.
The Live Beats events are designed so that attendees of all skill levels can discover more about using Ableton Live and Novation hardware. Demonstrator Thavius Beck will mainly focus on the hands-on music-making potential of Ableton Live 8 and Launchpad, but will also be showing off other Novation hardware and demonstrating how Automap can be used to take your Ableton Live sessions to the next level.
At each event, Thavius and local Ableton and Novation demonstrators will be on hand to answer questions and offer tips and tricks on how to get the most out of your software and hardware. What’s more, there will be a chance to win a Novation Launchpad and Ableton Live 8 at every Live Beats event!
AudioCubes designer Bert Schiettecatte will be hosting a series of one day workshops at his private workspace, for a select number of artists, starting November 10th 2009.
Workshop description: Starting with some theory, you will discover the history of AudioCubes, tangible interfaces, and their applications. The practical part of the workshop will let you master the technical aspects of using AudioCubes in sound, music and visual creation, and let you work on your own project using AudioCubes.
history of audiocubes
overview of tangible interfaces
why were audiocubes created / fundamental ideas
how audiocubes work
the audiocubes hardware
audiocubes software for live performance, sound design and music production
how to use audiocubes to control MIDI software and hardware
Google plans to launch a music service, Wired.com has confirmed with sources familiar with the situation. Next to nothing is known about the service at this point, rumored to be called “Google Music,” “Google Audio,” or “One Box,” although we have confirmed that it will be announced next Wednesday, and that it will link out to two music services: Lala and iLike.
What excites me most about Chipsounds is the possibilities for the future. I’d love to see a couple options that weren’t present in the original machine introduced here. A filter section would definitely expand the possibilities (a handful of chips have filters available as their chip-specific settings), a more useful and flexible Portamento function would be great, and, as mentioned before, a wider array of effects would be a nice addition. That said, imposing the limitations of the original chips is not a bad thing in my opinion. It encourages the same kind of creative thinking and workarounds the original programmers used to use back in the day to get sounds you wouldn’t expect to be possible with such limited means. Plogue has approached this softsynth with a palpable sense of reverence and their affection for these outdated sound makers shines through in abundance. An exceptionally fun and unique instrument! [8/10]
This demonstration uses my crude DIY flux capacitor for the Livewire AFG, basically 5 switches and 10 jacks corresponding to the flux cap pins. Two pin pairs are attenuated by two VCA's controlled by the makenoise/wiard wogglebug, crosspatched with the malekko/wiard noisering, which drives the melodic noodling, via a A-189-1 used as a bitcrusher, to perform cheap quantizing.
The sine output is sent to an input of a makenoise QMMG, driven by the A-143-1 envelope. About halfways through, a feedback path from the animated pulses, animated by A-143-1 LFOs, into the A-106-6 xpander filter (wogglebug controlled) goes into one of the pins on the flux cap expander, resulting in strange noises and unpredictable overtones.
This is a simple sequencer machine which uses Capacitative Sensing Code for input to the Arduino. It is is a combination drumpad and sequencer. It has just two modes, record, and playback, and needs very few components; an Arduino (of course), and just 3 resistors and a piezo speaker. If you're feeling decadent, you can add an LED (with a resistor) for more "ooomph".
For those starting out in electronics as a hobby there are some tools that are required for the job. To begin with, a soldering iron, some screw drivers, perhaps tweezers and of course a multi-meter are probably what you would consider essential.
After a while though, you are going to be looking for more. Amongst the other goodies out there to help you on your way are oscilloscopes. In the past, advice on forums has always tended more towards purchasing a second hand scope. These tend to be had for around £100 on places like E-bay and most certainly will be a few years old if available at this sort of price. Well that is changing and I was excited yesterday to get my hands on a “Scope” that may just re-write the forum advice. Meet the Nano DSO from Seed Studio…
Eric posts some samples of his mini space rockers analog percussion synthesizer.
Here are over 80 different electro drum / noise samples from the mini space rockers circuit… but you should really build it because its analog and it sounds a little different every time. and its cheap, so no excuses. I am offering these samples under a Creative Commons Attribution license. That means you are free to use them for whatever, but please credit me where appropriate.
Kseniya Simonova is an Ukrainian artist who won Ukraine's Got Talent 2009. She uses a giant light box, dramatic music, imagination and "sand painting" skills to interpret Germany's invasion and occupation of Ukraine during WWII.
Testing m4l interfacing capabilities with arduino through max's [serial] object. A simple 4-sensor controller for an FM synth. Analog and digital information is mapped onto midi control messages that can be routed inside live for events or modulation.
The AES Workshop (W2) on Friday October 9, will preview Max for Live, a new product from Ableton and Cycling ’74 that puts the power and potential of Max/MSP/Jitter into Ableton Live, enhancing Live’s creative possibilities and allowing users to create new, custom instruments, effects and devices.
Hotly anticipated, Max for Live is the culmination of over two years of co-development by both companies. Max for Live looks set to provide the worldwide community of Max/MSP enthusiasts and Ableton Live users with creative capabilities they’ve never imagined.
The workshop will feature a discussion of Max for Live from the perspective of classically trained violinist and composer Mari Kimura in the context of her own ongoing work with interactive performance technology at the Juilliard School. Kimura will discuss and demonstrate Max/MSP as an interactive tool and show how she uses Ableton Live in production. She will also talk about Max for Live and its potential uses for musicians of the future.
Kimura will also demonstrate the “Gesture Follower” on her violin, a project being developed at IRCAM in Paris and implemented in Max for Live. In addition to Kimura’s artistic perspective, David Zicarelli, CEO of Cycling ’74, and Gerhard Behles, CEO of Ableton, will provide insight into the overall vision of this joint project.
365mag.com, MI7, SAE, and Ableton are proud to present a producer workshop on September 27 at 013 (Tilburg) and October 18 at Doornroosje (Nijmegen), in kind co-operation with Extrema Music and Doornroosje.
Both nights are must-visits for both rookies and advanced producers. Both non-techies and clubbers will find themselves on the floor later that night for exclusive gigs by Dave Clarke at two of The Netherland’s best venues.
Program at 013, Tilburg
Saturday, September 27, 2008
Serato Scratch Live master class and producer Q&A with Dave Clarke
Ableton Live 7: Producer master class with Duotone
Nintendo Wiimote vs. Ableton with “WiiJ” Timski
Audio mastering with SAE
Program at Doornroosje, Nijmegen
Saturday, October 18, 2008
Serato Scratch Live master class and producer Q&A with Dave Clarke
Ableton Live 7 and video mixing with Auke Ferwerda (Duotone), Wouter Smit and Cenk Unis
I strongly recommend building this if you like noisy toys. The touch-pad interface is fun, and a nice change from the more traditional knob or key methods. As far as musicality goes, it’s not great. However, it is capable of some very interesting ambient textures such as white and pink noise. It even has some Theremin-like capabilities (see the video for me waving my hand over the pads). It’s pretty unpredictable, but if you can find the 709 chip, this is a great box to experiment with.
Worth Ekik Crackle Book – looks like a nice read
# Hybrid Scrapyard workshop – Hybrid Scrapyard is an extended version of The Scrapyard Challenge workshops. Participants build simple electronic projects (both with digital and analog inputs) out of found or discarded “junk” (old electronics, clothing, furniture, outdated computer equipment, appliances, turntables, monitors, gadgets, etc..).
# iPod/MP3 Player Bicycle Speaker – A simple passive speaker for your bicycle using the parts you have lying around. Loud enough to hear on quiet roads. A person with very basic soldering skills should be able to do this; doesn't require any advanced electronics knowhow.
# BalvenAmp – DIY tube amp. It's not a very good speaker, so there's a lot of low-end distortion, but at low volumes the treble is actually quite clear.
Want to learn more about Pure Data, the real-time graphical programming environment for audio, video, and graphical processing, and GEM (Graphics Environment for Multimedia)?
You might be interested in the Pd & GEM Workshop by Florian Grote at STEIM / Amsterdam.
The workshop will provide a thorough, two-day introduction to creative audio work in Pd, and then expand its focus on the GEM extension library for Pd. With GEM, sophisticated tools for visualization are available directly inside Pd, and their handling is not different from the audio-related elements. This enables Pd users to seamlessly integrate their own visuals into their musical performances or installations, as well as to get creative with the user interfaces for their instruments.
Pure Data / GEM – integrate visuals into musical performances or installations
The goal of the workshop is to equip participants with a substantial basis for their own creative explorations. This will be achieved by combining lecture sections with assisted work on individual projects.
The workshop will be open to address individual interests and is generally directed towards:
composers who want to take a more interactive approach to composition,
live performers who want to start designing their own instruments, complete with innovative approaches towards user interface design,
installation artists who want to explore the possibilities of Pd in combination with the GEM extension library.
Participants should ideally have some background in working with digital audio on their computer platform. For the workshop, a computer running Mac OS X, Windows, or Linux is required.
Registration is required for this workshop and can only be done online at www.steim.org. Please register early to ensure a place. Places are limited to 12.
The workshop will take place from Monday, April 7 through Thursday, April 10. Included is an afternoon with special STEIM presentations on junXion, LiSa and the junXionboard to place Pd in a STEIM context.