Question by : Good VST Guitar Instrument for Cubase (That does NOT require an actual guitar?)?
I need a program that will go in my VST folder for Cubase that has Acoustic, Electric, and Bass guitars that playback guitar sounds on the piano roll, NOT from a real guitar that I need! Any suggestions?
Best answer:
Answer by Mustafa
Please stop. The world doesn’t need more fake music.
What do you think? Answer below!
Read the full story @ KVR Audio
sonicLAB has released Cosmosand#402;, a stand-alone synthesizer application for Mac OS X. Cosmosand#402; features a non-standard synthesis engine offering great functionality, precision and a real t [Read More]
AudioProFeeds-1
Look around the room you’re in. Drum your fingers against some of the objects around you. Now imagine that you could turn those touches into any imaginable sound – and all you’d need to play them is a single contact mic. And we’re not talking just simplistic sounds – think expressive, responsive transformation of the world around you, all with just that one mic, thanks to clever gestural recognition.
Bruno Zamborlin has made that idea a reality, with hold-onto-your-chair results. It’s not available yet for public consumption, but it’s coming.
Bruno explains to CDM:
Mogees is a novel way for transforming any surface into a musical instrument.
By putting a (very cheap) contact microphone over a surface, the software can recognise different types of touch and associate them with different synthesisers.
Users can train the software with their own ‘gestures’, using both bare hands and objects. In the video demo we put the microphone over different surfaces such as kitchen tables and balloons.
The sound synthesis is based on two different techniques:
1 – physical modeling, which consists in generating the sound by simulating physical laws. Different materials can be simulated, such as membranes, strings, tubes and plates
2 – mosaicing, that works as follow: first, users load a sound folder; then, the noise coming from the microphone is analysed and the software continuously finds and plays its closest segment within the sound folder.
Mogees has not been realised yet. It could be published as Max4Live patch in some month.
Yes, we’ll be watching for future versions and publication, with bated breath and eager hands.
http://www.brunozamborlin.com/mogees
Question by Allu (Ignorance Is Bi-Sexual): Do You Have A Favorite Instrument You Like Hearing In Hip Hop Beats??
Mine would have to be the piano and organ. Adds a nice touch to a beat especially crunk joints.
Best answer:
Answer by Chuck Norris
I like violins.
Like in Kanye Wests “Late”.
What do you think? Answer below!
Dig into humanity’s past, and alongside the earliest tools, you’ll find some of the earliest instruments. Designing objects for expression seems to be an essential part of civilization.
Martin Kaltenbrunner, a co-designer of the Reactable tangible music interface, is also a professor in Interface Culture at the Linz University of Arts in Austria. There, in the land of Mozart and Haydn, he works with students to explore what interface design is.
So, when I got to spend some time with Martin in New York in September, I was interested in more than just the flashy coolness of the Reactable, the futuristic table-with-blocks interface for music. We got a chance to talk about instrument design generally. The funny thing about the Reactable is that it is closer to the experience of working with a modular synthesizer and oscilloscope than anything else, with the sense of physical connections of sound to object you’d get from classic synths. It is something unique, truly, but that’s its pedigree.
Martin and I got to give a talk together at the Austrian Cultural Forum New York, a terrific hub in which Austrian artists frequently are paired with New York-based folks, all in a lean, tall modern landmark building in Midtown. We also performed together, which for me was a real pleasure; Martin claims not to be a musician as such, but was good fun as an improvisation partner.
The next day, we headed to Manhattan music education center Dubspot, where Martin’s creation quickly attracted crowds of interested students and educators. Dubspot filmed our encounter for the video at top. Amusingly, the prominent synth sounds you hear at the beginning are not the Reactable, but our own MeeBlip open source synth, which I brought along to illustrate conventional tangible instrument design with switches and knobs. (If you’ve been impatiently waiting for news on the MeeBlip, believe me, I’m even more impatient – more announcements on that this week and next, following a production quality issue with a contractor that required us to reboot the run of new instruments.)
Reactable Live @ Dubspot! Interactive Sound Design Workshop Video Recap [Dubspot Blog]
YouTube commenters, that subtle and thoughtful bunch, are complaining that the tangible Reactable will set you back thousands of Euros. But at ACF and Dubspot, I was also equipped with the far more economical and portable alternative: Reactable Mobile runs on both Android and iOS. (I was pleasantly surprised to discover the app runs perfectly on a Galaxy Tab 10.1 from Samsung; I’m still a long, long way from being able to recommend buying an Android tablet, but if you’ve got one, I can certainly recommend this app.) Now, don’t get me wrong: the experience was nowhere near as fun as using the table. On the other hand, you can’t fit the table into a seat-back pocket on easyJet, and the savings in cash is proportional to the sacrifice in experience. What impresses me is that the design of the physical Reactable “flattens” so nicely onto the screen; I think it’s a user experience triumph that you can make that translation. And I was able to load up a few loops of my own music and jam along with the MeeBlip and Martin on the (real) Reactable.
Looking beyond the Reactable, Martin addressed these larger issues of tangible interface design at TEDx Vienna – a fitting locale for talking the history and future of music. His whole presentation, and a sweeping concept map of what he discussed, is available.
Martin Kaltenbrunner: Tangible Music
If you just want to get your Reactable on and can’t afford the table, see Reactable Mobile below. (Seen here on an iPad 2, but I’ve run successfully on the original iPad and the Galaxy Tab – the experience is more or less identical, thanks to portable code.)
And if you can afford the table, you rockstar, uh, can we be your friend?
http://www.reactable.com/products/mobile/
[the awesome table version]
Martin Kaltenbrunner website [with plenty of academic links]
Amidst the general-purpose computing platforms (laptop, iPad), and latest iterations of the conventional synthesizer (keyboard, knobs), the quest to build something genuinely specific, self-contained, and unique drives on. These creations are strange breeds, evolutionary singularities that aim to embody something the more generic instruments of our age lack: personality and soul. They’re the kind of object you might want to practice for years, to treat in their digital, “post-mechanical” form the way you would a violin or piano. They have a feel, more than the smooth surface of a trackpad or plane of multitouch glass, something that pushes back when you push it.
And while many such creations have shown up in proof-of-concept demos and academic conferences, the Eigenharp is an instrument a small but growing community of players are embracing in the long haul.
Musician and Eigen advocate Geert Bevin is back with the latest round of updates as those players hone their chops and try to really master their Eigen playing. And if you want to get involved yourself, there’s even a regular, Web-based clubhouse, thanks to Google’s fledgling “Hangout” technology on Google+. Geert tells us:
Independently from Eigenlabs, Eigenharp players are now organizing a clubhouse, twice a week, on opposite times to allow everyone to join at one point or another. This happens on Monday at 4PM CEST (Europe) and Wednesday 4PM CDT (US), using Google+ Hangouts. I’m hosting the European one and it’s streamed and recorded on Livestream
People that interested in the Eigenharp are invited to join one of the hangouts and circle me or Larry Heilman on Google+ to get access.
Now, some of the artists videos, in a wide survey Geert has put together that spans genres.
António Machado (Portugal) used his Eigenharp Alpha during the INCastelo open-air show with dancers in a medieval castle.
Here is what António has to say about this performance: “I compose music and take care of sound design for most of the dance shows from DançArte and we were in the two final shows of the cycle ‘In/Out’ focusing on local architecture and their surroundings. The ‘In’ part in August, outdoors and the ‘Out’ part inside a traditional theatre. Planning ten months ahead, August 2011 would bring us to Palmela´s medieval Castle built in the year 1150, to get inspired by and ultimately create “In Castelo”. Again the choice of performing with the Alpha suited me perfectly. It is visually stunning, so I was able to connect with the audience through the lights, using the “Arranger” and was free to interact with the surroundings, the dancers and their choreography. I have a very high degree of control over each sound/sample/AU or iVST and effects used, right from the instrument, so I don’t need to look at the computer screen while performing”
http://www.youtube.com/user/palaires
BangStrokeBlow (UK) live with an original instrumental:
BangStrokeBlow is a London-based duo of Eigenharpists; they make infectious, dance floor-oriented, experimental music. They retain many of the sensibilities of modern electronica but through the Eigenharp, have developed a much more expressive and human way of performing this music live. Expect anything from Hip Hop to Breakbeat to Trance; every single note will eat away at your internal organs, in a fuzzy, buzzy, rapturous way.
http://www.youtube.com/user/BangStrokeBlow
http://www.myspace.com/bangstrokeblow
https://www.facebook.com/bangstrokeblow
http://soundcloud.com/bangstrokeblow
Dino Soldo (UK) has used the Eigenharp for the 2010 world tour of Leonard Cohen:
Here’s what he had to say during an interview: “I can be onstage just with this, the computer on the side and my horns. That’s my fantasy. The visual is everything… Being on stage is a fantasy and this contributes to that fantasy. I wanna get rid of my keyboards. I wanna have a whole side of my stage disappear. Make the stage a little cleaner. There’s enough buttons for me to get everything I wanna have happen, happen. Really all you have to do is get your brain situated around the Eigenharp, then the Eigenharp is ready to go… The possibilities are truly endless. It really allows me to do things that I wouldn’t normally do with a solo instrument.”
http://www.dinosoldo.com
http://twitter.com/dinosoldo
http://www.myspace.com/dinosoldo
http://www.facebook.com/DinoSoldo
Flytecase (Belgium) live with an original song, “Same Place Again”:
Flytecase is a Belgian alternative pop-rock band, they used the Eigenharp Alpha for most synth arrangements on their debut album ‘Speaker Mind’ and are now preparing a new live show that uses the Eigenharp on stage. This is one of the finished songs, written on the Eigenharp and performed live in Charleroi, Belgium during the Fêtes de Wallonie Festival.
http://www.flytecase.be
http://www.facebook.com/flytecase
http://www.youtube.com/view_play_list?p=B56CEC9C692B36B2
http://twitter.com/flytecase
Ian and Paul Harriman (UK) using AudioCubes and Eigenharp at Electro-Music 2011 festival:
Ian and Paul Harriman using AudioCubes and Eigenharp at Electro-Music 2011 festival [Percussa (AudioCubes) blog]
Paul Harriman has played the Eigenharp Alpha for two years in a row at the Electro-Music festival and performed a piece together with his son on Audiocubes this year. As well as playing leads and pads live on the Alpha, all the backing tracks are also triggered and controlled by the Eigenharp.
Kayla Kavanagh (UK) live with an original song, “Take me home”:
Kayla is a Yorkshire-based singer-songwriter who plays nine instruments. She started a year and a half ago with the Eigenharp Pico and has since then moved on to the Eigenharp Alpha. Her last album is one of the world’s first to feature the Eigenharp. Kayla played at this year’s Edinburgh Fringe Festival with her first original song on the Eigenharp Alpha.
http://www.kaylakavanagh.com
http://www.youtube.com/kaylakavanagh
http://twitter.com/KaylaKavanagh
http://www.facebook.com/pages/Kayla-Kavanagh/22032129016
Thanks for this, Geert! This covers quite a range; it seems that you’re bound to find something that sparks interest. If others would like to do a similar round-up for an alternative instrument/controller, I’m all ears.
from www.warbeats.com With so many samples floating around the internet its a shame more people don’t know how to loop an instrument sample so that it can play a note as long as you want it to play.
Video Rating: 4 / 5
JD Magichands Productor Musical – Sigueme En Twitter Para Contacto Y Preguntas Acerca De Mis Instrumentales y Con Gusto Te Atendere @JDMusicProducer
Read the full story @ KVR Audio
Steinberg Media Technologies has released ElekDrums VST Sound Instrument Set, to expand the Groove Agent ONE drum library in Cubase and Sequel. The ElekDrums VST Sound Instrument Set comprises more t [Read More]
AudioProFeeds-1
Touch on devices like the iPad is functional, but limited in its expression – there’s no pressure or tactile feedback. That’s why we’ve enthusiastically followed Randy Jones’ “continuous capacitive sensing” technology on the Soundplane for some time. Sensing pressure, it behaves more like an acoustic instrument might – that is, if such an acoustic instrument were possible beyond the imagination of the digital realm.
As advertised, it “transmits x, y and pressure data for every key continuously at 12 bits of resolution and about 1000 samples per second, letting players move beyond the ADSR envelope model of synthesis and articulate each note individually, as on an acoustic instrument.”
While Randy has a patent pending, he still encourages people to follow his documentation of the technology to build their own. But if you’d like one nicely built for you, the Soundplane is now available as a US$ 1695. There’s even a bundled version of Madrona Labs’ wonderful Aalto patchable modular software synthesizer for your computer, especially customized to work with the Soundplane. (And dig those nice three-dimensional visualizations of pressure in the video.)
There won’t be many of these first units out in the world: the first run is limited to just 30 units. Of course, if it’s successful, I’d expect to see more. And you could have something special in the first-available hardware (I’d jump if I weren’t saving my pennies!)
Our own Matt Earp is working on an interview with Randy, so here’s your opportunity – what would you like to ask Randy about his creation?
If you happen to be in California, Randy is putting together a West Coast US tour. Dates and description below.
And for more pictures, see below.
Robotspeak, San Francisco, Saturday Nov 5, 4pm
CNMAT, Berkeley, Monday Nov 7 (unconfirmed — check back to madronalabs.com for info)
UCSB, Media Arts and Technology Seminar, Tue Nov 8, 5:30 pm
Calarts Seminar, Thur Nov 10, 6:30pm
Some of the events may differ slightly from this Robotspeak description, says Randy, but this gives you an idea – I love the thesis here.
Multitouch interfaces: beyond the tablet.
Madrona Labs and Robotspeak are happy to present this seminar on music and multitouch interface. Thanks to smartphones and tablet computing, multitouch interfaces have been a common topic of discussion over the past few years. Phones and tablets are general-purpose tools that have their pros and cons for music making. As multitouch technology becomes specialized for music performance, what will future hardware and software look like?
Madrona Labs has one answer in the form of the Soundplane, a new instrument designed specifically for computer music performance, shipping in limited quantities this Fall. Randy Jones, the Soundplane’s inventor, will present a prototype, demonstrate some of what it offers to musicians, and make it available for hands-on time by attendees.
Other visions of multitouch will spring from DIY efforts and maker culture. Capacitive sensing is a simple technology that makers can easily integrate into new designs. Randy will show how to make touch sensors with little more than some foam, tinfoil and an audio interface, and discuss the benefits as well as the limitations of these devices. More hands-on play and quite possbily a cacophony of bleeps will result.
www.pointblankonline.net In this tutorial Danny J Lewis (Enzyme Black) explores the parameters of Ableton’s Instrument Rack function. The tutorial is the fourth in our series of exclusive samples taken from our Electronic Dance Music Pro Producer course which focuses on producing progressive and trance styles. For more information about the course head here: www.pointblankonline.net Please subscribe to our channel to make sure you don’t miss future exclusive tutorials from Point Blank Online school.
Video Rating: 5 / 5