It needed be mention that the original album was released on Warp label in 1994, after Selected Ambient Works 85-92, enjoying a reissue in 2012, a material considered as an electronic music milestone, that garnered respect among fans of experimental music, sound compared to Brian Eno and Erik Satie work, inspired by James’s lucid dreams, who has natural synesthesia that helped to create the whole album.
Minervaby Tweakbench is a tool to generate percussion, using granular synthesis (wavelet synthesis). It focuses on six sound generators, called ‘Units’, and each of them emits its own percussive sound. Is able to create a lot of abstract percussions.
Offers 80 wavelets by channel. All sources are velocity sensitive and moveable. Each channel has a separate granular processor with pitch, size and speed parameters, bitcrush, as well a random parameters.
If you are looking to create interesting and abstract sounds, Minerva is for you.
REFRACTOR, is a synthesizer developed by NoizeFieldfor Reaktor,based on the model Karplus-Strong for physical modeling synthesis with some variants.
The Karplus-Strong mode uses a noise signal as source, REFRACTOR switches the source by a set of short samples in the style of wavetable synthesizers. It has 128 waveforms, which give rise to an extensive sonorous palette with unpredictable results.
REFRACTOR is an excellent tool for eclectic sound designer, or any artist of experimental electronic music, offering to users a friendly graphic panel to be used immediately without complications. You can access to a wave selector and 16 step sequencer for create patterns where each step can be chosen of the 128 selected waves to create powerful electronic rhythms and sequences.
Check the video below.
REFRACTOR has a simple extra oscillator with five selectable classic waveforms, plus a white noise option. The oscillator provides ADSR, tone controls and a ‘Mix’ knob to balance the mix between the oscillator and the REFRACTOR wavetable. In the section Karplus-Strong Wave Oscillator you obtain controls for sound molding like ‘feedback’ and ‘damping’ similar to a filter resonant low-pass, while other controls allows to add octaves and to swell the sound of the original wave. ‘Attack’ and ‘decay’ controls shape the duration and attack of the selected wave.
You’ll also have an effect section, a low-pass filter for saturation, resonance, morphing, FM amplitude, and envelope options. As well, an effect with four resonant delays in chain, pitchshift delay and reverb with high-pass and low-pass filters.
If you are looking for original sounds and create something totally new, REFRACTOR will be an excellent decision.
REFRACTOR is only compatible with newer versions of Reaktor -V5.9.4 and later.
The original Netflix series, Stranger Things already has a special place among musicians and lovers of the futuristic aesthetics of the 80s.
His soundtrack penetrated the audience, thanks to his character and deepness; an example was many versions of producers and enthusiasts who risked to create the Stranger Things’s cool sound.
If you feel curious about the machines used in the main theme of the popular series, Reverb.com shows a video with details about all sound sources used in the creation of this soundtrack in its second season, that we can watch this year.
Stranger Things’ retro music was written by Kyle Dixon and Michael Stein, brains of S U R V I V E. They took advantage of a selection of classic and modern machines and synthesizers as well drum machines, to reach that classic sound like John Carpenter’s stuff.
In the video, S U R V I V E members explore four vintage synthesizers: Sequential Circuits Prophet-5, Roland Juno-6, Korg Mono / Poly and the Roland TR-707 drum machine. Other than the well-known machines used by Dixon and Stein, include Moog Minimoog Model D, DigiTech Whammy II and Electro-Harmonix Deluxe Memory Man.
Here’s what the authors of the famous Stranger Things theme have to say.
If you’re looking for an excellent TB-303 emulator, Yooz Music designed a free VST instrument to recreate this 303 classic sound. In the history of electronic music, this acclaimed bass synth has earned a place in the hearts of musicians and producers.
In a first time, was a bass emulator designed for guitarists to accompany them in their productions, TB-303 looked so little like a real bass, that their innovative sound ended up finding places totally different from those anticipated by their designers. Roland TB303 soon made a big noise in the emerging acid / techno scene of the late 80s – now, its sound is a classic.
Check demo below.
Yooz BL-303 offers seven well differentiated controls, which you will use to emulate acid and bubbly basslines. A control for pitch, a selector for two waveforms (used in the original), low-pass filter and emphasis for resonance.
The last three knobs are envelope controls, ‘Decay’ and ‘Accent’; next to the filter, these last three parameters will sculpt the character and length’s sound.
If you remember the ‘Accent’ and ‘Glide’ parameters from the original Roland 303, the first one accentuated the chosen note making it more prominent in sequence, while the second was responsible for stretching notes in a certain way through a portamento effect. Its control has been solved here without need for more potentiometers, all thanks to MIDI. To do this, you will depend on the speed of each MIDI note to activate the ‘Accent’ or ‘Glide’ effect, or both.
Yooz BL-303 is simple and easy to use, with immediate and very satisfactory results.
We’ve seen boxes that claim to sync everything you have to everything else you have. But the E-RM multiclock claims to do it even with a computer as the clock source – without jittering.
Just announced, the multiclock is the follow-up to the midiclock+, the clever MIDI sync box introduced by Berlin’s boutique E-RM Erfindungsbüro back in 2012.
The most important thing to know about the multiclock is that it takes this obsession with getting sync right directly to your computer’s audio card. Whereas MIDI and MIDI over USB from a computer are inherently susceptible to jitter, E-RM claims that the audio synchronization gives them sample-to-sample accuracy. That allows you to use a computer as a clock source without some of the nastiness that can often ensue.
Rewind. Plain explanation. Remember when you could use a phone to tell what time it was? A lady’s voice would intone from the other end, “the time is now… 7:45 and 33 seconds pm.” Think of a MIDI stream as giving you those time indications a little irregularly – not quite on the right tick – and an audio stream giving times that are always exactly correct, many times per second (44,100 times per second for a regular CD audio setting, for instance). That’s my explanation, not E-RM’s, so I hope they approve.
You still retain the versatility to use what you want. So you can use MIDI or DIN (from more reliable MIDI gear that isn’t a computer, that is). You can use clock signals from analog modular gear. If you really must use a USB MIDI connection, fine – that works.
Or, of course, the multiclock – like the midiclock+ before it – can simply be your stable clock source for everything else.
This is all fine and well, but I think it’s the adjustment that makes this interesting. You can tweak timing on everything – each channel has two knobs for shifting and shuffling. That can allow you to fine-tune sync or even create your own grooves. I can really imagine dialing in something more life-like and human with this.
It isn’t just sync, either. A “MIDI Map & Merge Matrix” lets you route and merge MIDI notes and control messages over MIDI or USB to particular outputs.
E-RM is a neighbor of mine – in Berlin and this week at Messe – so I’m curious to give this a try. 449€ is a hefty price, but … it could be the last sync/clock device you ever buy. And it could change the way machines in your studio arrive in time. I can also tell you E-RM are obsessive about quality and sustainable production. So yes, it’ll be great to evaluate these claims in performance.
multiclock will be available from May 2015.
The MRSP is 449 e for the standard version, 519 e with USB.
A matching power supply is naturally included.
Colorful caps for all knobs are available on request.
tempo range: 30-300 BPM
max. shift range: ± 250ms
1 x Audio-Sync input
1 x MIDI/DIN Sync/Modular Clock input
4 x MIDI/DIN Sync/Modular Clock output
1 x LFO output (0-5 V)
1 x power jack (9 V-15 V)
4 x USB MIDI input (optional)
1 x USB MIDI output (optional)
While the flurry around Syro has begun to settle, the second installment of blogger Dave Noyze’s extensive interview with Richard D. James (a.k.a. Aphex Twin) surfaced earlier today, and with it, a large batch of previously unreleased Aphex Twin tracks. Available to download via the longstanding producer’s SoundCloud, the sprawling collection assembles experimental Serge and Buchla synth productions dating back to the early ’00s and a demo version of a track appearing on Syro, plus outtakes from orchestral performances in Poland and London’s Barbican. The interview also zooms in on James’ studio equipment and gear collection.
Aphex Twin’s 21-track modular trax can be streamed and downloaded below.