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Drumdrops releases “A Fistful of Drumkits” for Ableton Live (Drum Rack)

Written by Site Update on April 25th, 2014

Drumdrops has released A Fistful of Drumkits, an Ableton Drum Rack pack containing Drumdrops first three sample kits – the 1963 Premier Outfits 54 Kit, The Roger’s Big R Dub kit and the Mapex Heavy Ro [Read More]
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Sound Dust releases “Tiny Chaos Engine” – Free “found sound” drum machine for Kontakt

Written by Site Update on April 25th, 2014

Sound Dust has released Tiny Chaos Engine, a free “found sound” drum machine for Kontakt 4 and 5. It was made with / from a collection of unlikely sound sources that include a lawn mower, kite flyin [Read More]
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Audiority releases Omnisphere Cinematic III

Written by Site Update on April 25th, 2014

Audiority has released Omnisphere Cinematic III, a new soundbank for Spectrasonics Omnisphere featuring 100 new modern presets designed for Dark Ambient, Film, Soundtrack and Underscore. Specification [Read More]
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Gibson 2014 Les Paul Futura

Written by Site Update on April 24th, 2014

Read more about Gibson 2014 Les Paul Futura at MusicRadar.com


After 120 years in the business, it’s fair to say that Gibson knows a thing or two about guitar-making. So, for 2014, it’s launched a whopping 29 new models, loaded with innovations, including this guitar, the Les Paul Futura.

Among the range there are four new pickups and plenty of eye-catching nitrocellulose finishes, plus Graph Tech nuts, easy-grip knobs and cryogenically-treated frets for long-lasting playability. The latest Min-ETune robot tuning system also features heavily in the new line-up, and each guitar even carries a 120th anniversary inlay at the 12th fret.

“Run your hands over the LP Futura’s sultry curves and you’re bound to pick up on the rock-solid build quality”

This model is typical of the Gibson 2014 approach: there are coil-splittable pickups and it packs an uncommon p-90 and humbucker combination with switchable 15db boost. As well as the finish we have here, you can get the Futura in Pacific Blue, Brilliant Red, Champagne and Bullion Gold.

Run your hands over the LP Futura’s sultry curves and you’re bound to pick up on the rock-solid build quality: the jacks, pots and switches feel reassuringly robust, as does the fretwork on the smooth rosewood fingerboard. It all makes for a supremely confident playing experience as you traverse the LP Futura’s myriad coil-split and boost options, as well as its smoothly finished D-shaped neck.

The LP’s Sidewinder P-90H can seem a little gloomy in comparison with a ballsy neck humbucker. It’s great for chimey, crunchy chords, though, and in combination with the coil-split, produces snappy sounds that you’d never expect from a Les Paul.

However, the LP Futura is at its best when it’s firing on all cylinders on the bridge humbucker – the tones are brash, obnoxious and in your face; flick the boost switch and you’ll send any amp or overdrive pedal into meltdown, with a huge increase in volume and gain. The boost helps to bring the P-90 out of its shell, too, and there are some intriguing mixes of boosts and splits to be had.

Of course, we can’t neglect the Min-ETune, which is as effortless as ever. Perfecting standard tuning is as easy as pressing the power button, strumming the strings and letting the tuners do their robot thang, while there are 12 alternate tunings available at the touch of a button.

Read more about Gibson 2014 Les Paul Futura at MusicRadar.com







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Zero-G Epica

Written by Site Update on April 24th, 2014

Read more about Zero-G Epica at MusicRadar.com


There are plenty of classic synth based sample collections out there so anything new needs to have an edge to be able to get its head above the rest. Designer Sam Spacey has gone all out in his quest to make Epica as special as possible.

Sounds were sampled from analogue synths such as the ARP Odyssey, Sequential Pro 1, Oberheim Matrix and Yamaha CS-30, and also from digitals such as the Virus Ti, the Yamaha DX9 and the Roland D-50. The recording signal path included Neve 1073 preamps, a UBK Fatso and an Eventide H8000FW, so all recording processing was of the highest quality.

“In all 17,247 samples were made, the editing and looping was all done by hand and the whole project took nearly three years to complete”

In all 17,247 samples were made, the editing and looping was all done by hand and the whole project took nearly three years to complete. Where reverbs were recorded with the sounds, they have been sampled separately so you can balance them yourself. A great touch and just another layer in the detailed lengths that Mr Spacey has gone to.

While many of the sounds use the original synths’ filters a dedicated user interface has been built which allows you to use many of Kontakt’s sample manipulation parameters including the filters. This panel is laid out to look like an old style analogue synth and is simple and highly effective. Aside from the obvious amplitude and filter sections there is a delay, a pitch envelope, startpoint mod and a very comprehensive LFO section.

Quality sounds

In traditional Kontakt style there are instrument and multi patches and the instruments are further grouped into sections such as Pads, Bass, Mono and Sequence.

“The recording quality is so good that the sounds respond very well to extra processing because it’s all there to manipulate”

The first thing you notice when you start loading patches is the variety and quality of the sounds. They have been multi-sampled to the point where no note is key-mapped more than a semitone from its original pitch and many have three or four round robins on each key. Many of the samples are incredibly long and the tails are superb right up to silence.

The recordings are stunning and so we found that we rarely reached for an EQ or compressor unless we wanted to radically change the character. That said, because the recording quality is so good the sounds respond very well to extra processing because it’s all there to manipulate.

Sonic possibilities

Having found a sound close to what you want there is plenty of scope to adapt it to your specific needs. While a bit of amplitude or basic filtering may be all you want, there are huge amounts of further manipulation possibilities.

The pitch envelope is great, allowing anything from subtle pitch shaping to wild swoops and rises. Startpoint mod can be set to velocity or random or both, particularly effective with a bit of subtle pitch modulation to ‘humanise’ a sequenced part.

It’s the LFO section that is our particular favourite. There are three separate LFO sections for pitch, filter and amplitude. Each LFO has sine, sawtooth, ramp, square and random waveforms. To control how they effect each parameter there is an amount +/-, LFO frequency, delay, and modwheel +/-. The delay control allows you to bring in the modulation amount after a period of time.

As you have discrete controls for every parameter of each section it’s possible to set up superbly detailed and rich modulations. Overall it reminds us of the sonic possibilities of a big modular system or an old Oberheim Expander rather than your average polysynth.

In conclusion, this is a very well thought out and powerful instrument. The presets are great and while the multis tend more towards the world of film and sound design there are so many great sounds here that you’ll soon be building your own patches, and there’s enough here to guarantee you’ll be using it for years to come.

Read more about Zero-G Epica at MusicRadar.com







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Live from the Moog Factory, Watch Erika, Teengirl Fantasy, and Survive

Written by Site Update on April 24th, 2014

CDM here in the Moog Factory, downtown Asheville, North Carolina. I don’t care whether you’re a Boiler Room fan or hater – this one is special. Erika is here from Detroit with her circular sequencer and loads of gear. The wild and wooly Survive are new to me but they’re doing lovely stuff and have a synth museum worth of keyboard racks – fantastic. And in town from New York, hailing from Oberlin, Ohio, are Teengirl Fantasy.

It’s already a great lineup, but novel for a second reason – Moog will keep assembling stuff in the factory as they play. Now that’s what I call Factory Floor (um, also looking forward to that gig this week).

Watch online via YouTube now, and hopefully catch the archive if you miss it.

Vintage Roland, ARP, and KORG come to join the party at Moog, as the workers look on. Survive at sound check.

Vintage Roland, ARP, and KORG come to join the party at Moog, as the workers look on. Survive at sound check.

The post Live from the Moog Factory, Watch Erika, Teengirl Fantasy, and Survive appeared first on Create Digital Music.


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Echo Custom Drums Brass Kit

Written by Site Update on April 24th, 2014

Read more about Echo Custom Drums Brass Kit at MusicRadar.com


Based up in the north of England, father and son drum building dynasty-in-the-making Dave and David Quinn have brought us some superb examples of what the UK custom scene can produce in the last few years.

The company’s Apollo series of kits and the plethora of snares that we have seen grace the pages of Rhythm have demonstrated that when it comes to creating metal drums, few are more consistent or prolific than Echo. Today we have another full kit, an attention- grabbing four-piece brass set-up.

Build

“You will either think it is a stunning piece of design or you’ll see it as downright gawdy”

Let’s cut straight to the chase – the look of this kit is 100 percent Marmite. You will either think it is a stunning piece of design or you’ll see it as downright gawdy. In this reviewer’s opinion it is a beautiful bit of work, and something that shows just what Echo is capable of.

There’s certainly a level of class to the kit’s aesthetic, the 1.2mm solid brass shells put it well into the refined beauty category and a comfortable distance away from being tacky (this is basically a shiny gold drum kit, after all). The shells have a bright brush finish and in their final production stage have a clear lacquer applied.

Once our eyes have adjusted to the sparkling gold finish, the next thing that we notice is the incredible weight. Despite only being an 18″x16″ bass drum, this is comfortably the heaviest kick drum we have ever encountered. Seriously, if you’re after a kit that you can quickly and easily lug into the back of the car for a gig, this is not it.

The toms also carry a sizeable weight to them – we have a 14″x12″ floor tom and 12″x8″ rack tom. Sticking to the tech specs, the bass drum features 10 lugs while the floor has eight and the rack, six. There is also a snare drum to go with the set, a surprisingly diminutive 14″x4″ drum with smart GS007 Trick strainer.

Hands on

“We give the bass drum a hearty thwack and can scarcely believe the almighty thud that greets us”

With the kit set up we give the bass drum a hearty thwack and can scarcely believe the almighty thud that greets us. The 18″x16″ sizing always guaranteed that we’d be able to get plenty of punch, but this really does cut through spectacularly. Response is a little more immediate and carries a touch more attack than Echo’s aluminum-shelled Apollo kits, but there’s also plenty of room for manoeuvre, a quarter turn down and we’re able to get a fatter tone, but still with ample amounts of muscle.

The rack and floor are every bit as eloquent and versatile in their tonal capabilities. Out of the box the 12″ tom has plenty of body to it, packing a gritty, deep punch with the merest hint of ping, while the 14″ floor is a powerhouse, a real pocket rocket.

The same can be said for the 14″x4″ snare. But, whereas the kit has punch to burn, ping is the order of the day here. Without even the tiniest turn of our drum key we’re able to get a funky sound from the snare, a well-placed whack to the centre of the drum lets out a shatteringly loud pang. The drum’s tone is quick to diminish, and may be a little too dead for some.

That said, it’s solid, lovingly crafted and won’t let you down. But, while it performs admirably, it would have perhaps been nice to have seen this kit bundled with a 14″x5″ or 51⁄2″ snare, just something that could have given a little more ‘oomph’ – a sound that would have been more befitting the rest of the kit. Even better, place the 14″x4″ to the left as a side snare and stick a 14″x51⁄2″ into the set-up as your main snare.

Coming back to the sheer weight of the kit, it does make it somewhat impractical. To protect that monster bass drum you will need to get yourself a sturdy hard case, which again adds extra bulk. If you’re looking for something that can sit in the studio then this could be a decent choice, but if you want a gigging kit (and with a set-up that looks as stunningly distinctive as this it’d be a shame to hide it away) then this may just be too arduous to shift from pillar to post. It’s also not cheap – the four-piece kit comes in at £2,399.

Read more about Echo Custom Drums Brass Kit at MusicRadar.com







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Synchro Arts releases Revoice Pro v2.5 for Mac and Windows

Written by Site Update on April 24th, 2014

Synchro Arts has announced the release of version 2.5 of Revoice Pro for Mac OS X and Windows. Revoice Pro lets audio editors create tight and natural-sounding double tracks, harmonies and ADR automat [Read More]
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Red Witch Fuzz God II

Written by Site Update on April 24th, 2014

Read more about Red Witch Fuzz God II at MusicRadar.com


Featuring silicon transistors, the New Zealand-built Fuzz God II sports two footswitches: a normal bypass and one designed to “incur the wrath of the Fuzz God,” says Red Witch, unleashing oscillation and octave effects governed by the wrath knob.

“A sputter knob dials in a sweet spot for descents into dying battery weirdness”

Volume and fuzz controls are standard, while a sputter knob dials in a sweet spot for descents into dying battery weirdness. On top of that, you get toggle switches to double the gain and bring in a treble boost.

While you encounter thick and musical character fuzz with the sputter knob fully clockwise, going backwards makes things more ragged, as the fuzz hangs on for dear life. The second footswitch brings in sonic chaos that you can leave running to ensure you get an encore ( just so it gets turned off!).

If you like the madness of the ZVex Fuzz Factory, the Fuzz God II will appeal. Lining up your knobs is crucial, as there’s so much interaction, but get them right and satisfaction is guaranteed.

Read more about Red Witch Fuzz God II at MusicRadar.com







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Elektron releases Analog Rytm – Hardware 8 Voice Analog Drum Machine with Sample Support

Written by Site Update on April 24th, 2014

Elektron has announced that Analog Rytm, a hardware 8 voice analog drum machine with sample support, is now available for purchase. Key features: 8 drum voices, each with: Specialized analog percuss [Read More]
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