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IK releases SampleTank 3 Free Sound Set of the week: Drums and Basses

Friday, September 12th, 2014

Each week, IK is releasing a new set of instruments that can be downloaded and added to SampleTank 3 Free’s instrument library for a total of 22 fully functional free instruments. The first instrument [Read More]
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Ample Sound Ample Bass P

Wednesday, September 10th, 2014

Read more about Ample Sound Ample Bass P at MusicRadar.com


With Ample Bass P, renowned guitar ROMpler developer Ample Sound has expanded its repertoire to take in electric bass – specifically that most groovy of axes, the Fender Precision.

The Ample Bass P interface is, of course, largely the same as that of its six-stringed stablemates, losing just the Strum (no surprise there) and FX (so no compression, distortion, wah or chorus pedals, which is a shame) pages.

“Unless your music calls for particularly avant-garde playing techniques (or strums!), there’s more than enough here to cover all likely situations”

The majority of the action takes place in the Main page, which gives access to the ten articulations that make up most of the 3.8GB sample library, from Sustain, Slap, Slide and Hammer On/Pull Off, to Natural Harmonic, Palm Mute, Tap and Staccato.

Unless your music calls for particularly avant-garde playing techniques (or strums!), there’s more than enough here to cover all likely situations, and the level of performance realism that can be achieved using keyswitching between articulations is quite extraordinary.

Ample Bass P also includes a variety of ancillary sounds (slides, scratches etc) and a dedicated set of keys for repeating the last played note (making light work of fast repeats), triggering fifths and octaves, toggling fret buzz on and off (at adjustable note frequency) and more.

You can also specify an individual string to play any given note, and thanks to the engine’s “rhombic” multisample selection system, repeated notes (even at the same velocity) always sound convincingly ‘played’. Then there’s the ability to mix in fret noise, release sounds and accentuation – all relatively subtle in their effect, but useful nonetheless.

Away from the Main page, the Sample Editor enables adjustment of the pitch and gain of individual samples (although we’d imagine that only very few users will actually ever need to go there), while the Tab page facilitates import and playback of passages in a range of tablature formats.

The Settings page is where you set your master tuning, load and save presets and activate ABP’s MIDI Out function for easy note doubling to other tracks in the host DAW.

Read more about Ample Sound Ample Bass P at MusicRadar.com







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Sonic Cat releases “Calliope – Universal Sound Module” for Kontakt Player with intro Offer

Thursday, September 4th, 2014

Sonic Cat has released Calliope – Universal Sound Module, a new virtual instrument for Kontakt Player. Calliope – Universal Sound Module contains many instruments for all musical genres like a hardwa [Read More]
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A Week of Spatial Sound on 4DSOUND at Amsterdam Dance Event; Open Hack Lab Call

Wednesday, September 3rd, 2014

4DSOUND_ADE_A2_03_web

As if Amsterdam Dance Event, the electronic music mecca of Europe and the world’s largest festival of its kind, weren’t packed enough already – there’s more.

Tucked inside the festival we’ve got five days of programming devoted to spatial audio, on the 4DSOUND system. As part of ADE Sound Academy, itself focusing on threads between technology, practice, and music, the event at Amsterdam’s Companietheater will explore the frontiers of new settings for music and sound. From plumbing the possibilities of the 4DSOUND’s forest of speakers to opening a discussion of immersive sound and music now and in the future, a combination of master classes, hands-on workshops, and live performances will challenge us to imagine what is possible as music fills new environments.

Meeting that challenge necessarily requires us to be engineers and artists, teachers and students, all at the same time. So I’m humbled to myself be involved in this program variously from all those perspectives, as an artist venturing into connections between architecture and music with Robert Lippok (Raster Noton), and via CDM, hosting discussions on how to push this and other technologies forward.

And you can be, too. The event is open to public attendance during ADE, and because we want your input, CDM is hosting an open call for participants to join us on a weekend-long Hack Lab. In that laboratory, limited in participation to facilitate maximum collaboration and time on the system, we’ll get to see what we can discover in finding new ways of exploiting spatial sound (and visuals).

The Schedule

With a varied program of artists, technologists, performances, and discussions, there will be plenty of reason to hang about Compagnietheater during ADE. Here’s an overview:

4dsound_ADE_A2_program_timetable

Wednesday, Oct 15
14:00 – 17:00 MASTERCLASS WITH PAUL OOMEN
Founder of 4DSOUND and composer Paul Oomen gives an overview of best practices in spatial sound design

21:00 – 23:00 MAX COOPER LIVE PERFORMANCE
Max Cooper explores a next level of psycho-acoustics and spatiality in his compositions specially arranged for 4DSOUND

Thursday, Oct 16
14:00 – 16:00 MASTERCLASS WITH MAX COOPER
Exclusive behind-the-scenes with Max Cooper including the world premiere of six new sound sculptures specially designed for 4DSOUND

21:00 – 03:00 RASTER-NOTON SHOWCASE
- Grischa Lichtenberger
- Frank Bretschneider
- Senking
- Robert Lippok & Peter Kirn
Live performances on the 4DSOUND system

Friday, Oct 17
14:00 – 17:00 MASTERCLASS WITH ROBERT LIPPOK & PETER KIRN
Robert Lippok & Peter Kirn go in-depth with the architectural concepts behind their 4DSOUND live show

21:00 – OPEN END VLADISLAV DELAY EXTENDED SET
Vladislav Delay’s exhibition performance in 4DSOUND lasting the entire night

Saturday, Oct 18
14:00 – 17:00 MASTERCLASS WITH VLADISLAV DELAY

Vladislav Delay reveals his working processes with intuitive and self-built control environments

21:00 – 23:00 STIMMING LIVE PERFORMANCE
Stimming presents his completely intuitive and improvisational club night on the 4DSOUND system

Sunday, Oct 19
19:00 SPATIAL SOUND HACK LAB PERFORMANCE
A series of short public performances by the participants of the ADE Sound Academy and panel discussion including: Peter Kirn (CDM), Ableton, Gareth Williams (Liine), Paul Oomen (4DSOUND), Jarl Schulp (Fiber) and Martin Stimming

4DSOUND at ADE: ADE Sound Academy, October 15 -19th

RSVP for 4DSOUND events on Facebook

Tickets are available now; we’ll have more on that soon (including whether a pass to the five-day program is available). But one way to get into all of it free is to apply for the Hack Lab – below.
Online tickets

ADE pass holders have limited access to the event, but capacity is extremely constrained; first come, first served.

More About 4DSOUND

The 4DSOUND system is an ideal platform for the week, because it makes all of these discussions material and invites ADE participants into a first-hand experience. For more on how this system works, some past coverage:

Full Immersion in Audio, as Artists Explore 4DSOUND in a Spatial Grid [Ableton, Max, Lemur] [CDM]

4DSOUND: A new sound experience [Resident Advisor's Jordan Rothlein does an in-depth story on the system]

Enter An Alternate Sensory Reality With Max Cooper’s 4D Sound Show [The Creators Project]

Also, Max Cooper is the one gent who has done a binaural recording so that – provided you have headphones on – you can experience a pathway through the work.

Also worth watching Lucy’s take on the system, which made use of sensing.

Of course, I think what we discover about immersive experience, architecture and sound, and spatiality in music can extend far beyond just this system.

4DSOUND_ADE_A2_spatial_sound_hack_lab_low_info

Spatialization Examples : 1 from 4DSOUND on Vimeo.

Open call for participants

Spatial Sound Hack Lab
10h Saturday 18 October – 21h Sunday 19 October

Hosted by CDM (createdigitalmusic.com), Ableton, Liine, and Fiber Festival at Amsterdam Dance Event (ADE)

What’s possible when the experience of sound can happen in more dimensions? We invite artists and hackers to explore the 4DSOUND system using a variety of tools of their own choice, culminating in new experiments in sound, music, and performance.

Media can include:

  • New music and sonic creations in Max for Live and Ableton Live
  • New control interfaces with Liine’s Lemur app
  • New interactive UIs built in Canvas on Lemur (familiar to those who have worked with Web technologies)
  • New sound, control creations in other tools (Reaktor, Pure Data, Processing, etc.)
  • Visuals projected onto the 4DSOUND system (projection mapping, live VJing)

Previous experience in all of these tools is not required. Artists and coders alike are welcome. You might be a musician interested in exploring your instrument or voice with a spatial interface, or an artist interested in making visuals on the surface. You might be a coder or patcher eager to explore new tools. You might have some novel technology you would like to interface with a spatial sound rig. Perhaps you’re doing something completely different we haven’t thought of!

A limited number of participants will be invited to participate. We provide:

  • A pass to the week’s 4DSOUND performance series at ADE, including the Raster-Noton showcase and other events
  • Free entry to the full Hack Lab weekend
  • Access to the 4DSOUND system and gathered experts from 4DSOUND, Ableton, Liine, and CDM
  • Workshops and education, including a master class by Vladislav Delay and panel discussion on spatial and immersive sound
  • A chance to give a short public performance/demo
  • Food and refreshments for the weekend

We regret that we can’t provide other expenses. Travel and accommodation is the responsibility of participants. However, there’s no charge to participate.

Rough schedule:
Saturday 18 October
Arrival of all participants (latest, 10 am, assuming you weren’t already enjoying the week’s 4DSOUND events)
Master class by Vladislav Delay
Meeting fellow participants, collaboration discussions
Introduction to 4DSOUND system
Introduction to control tools in Ableton Live, Max for Live, and Lemur (and compatibility with other tools)
Attend evening performance by Martin Stimming

Sunday 19 October
Full day of development with access to the system
19:00 Short performance/presentations
Final panel discussion on the future of spatial production and immersive sound, with Martin Stimming, Peter Kirn (CDM), Jarl Schulp (Fiber Festival), Olaf Bohn (Ableton), Gareth Williams (Liine), and Paul Oomen (4DSOUND)

To apply, fill out the entry form by 23:59, Sunday 14 September, and let us know a little bit about your work and skill set and what you hope to accomplish. We will select a group that we think can collaborate well on the system and that represents a variety of interests.

Apply Online for the Hack Lab

Accepted participants will be notified that week.

We look forward to meeting some of you in Amsterdam!

The post A Week of Spatial Sound on 4DSOUND at Amsterdam Dance Event; Open Hack Lab Call appeared first on Create Digital Music.


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Sound Magic releases “Fazioli Rose” Fazioli “Brunei” Grand Piano AU and VST Plugin for Windows and Mac OS X

Monday, September 1st, 2014

Sound Magic has released Fazioli Rose, a Fazioli “Brunei” Grand Piano Audio Unit and VST plugin for Windows and Mac OS X. Its MSRP is €129 / $ 169 / £105. The sound of Fazioli Rose comes from Faziol [Read More]
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Ample Sound updates their Acoustic Guitar Plug-ins to V1.7.3

Saturday, August 30th, 2014

Ample Sound has updated their acoustic guitar plug-ins AGL, AGM and AGT to 1.7.3. Changes: Now support plugin’s independent settings file format to enable save/load aside from DAWs. Added uninstaller [Read More]
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These Apps Use Quicker Interfaces To Encourage More People to Use Sound

Monday, August 25th, 2014

geometricmusic_handson

Convincing musicians to make use of sound is easy. And electronic musicians are even content with stunningly-complex interfaces, in exchange for deep control of sound.

But what about everyone else?

Users on mobile are certainly uploading sounds. Part of the intense interest in SoundCloud even outside music and audio audiences is simple to explain: the site is ridiculously popular. By 2012, it had reached 10 hours of uploads per minute. And once sound is uploaded, it attracts listeners. As of last fall, users had skyrocketed from 200 to 250 million users in just a few months. That’s another reason last week’s ad plans are worth watching.

If SoundCloud facilitates uploading, storage, and sharing, the next frontier may be all about the interface for producing sounds in the first place. App developers have likely already saturated the expert music production market with designs that appeal to that crowd. But just as quick and easy UIs for text and images have popularized those means of communication, sound may require a fresh approach. And a few developers are betting on that possibility in interesting ways.

Make production faster.

Propellerhead, for instance, has built an app called Take that radically reduces interface elements to reimagine production as a mobile experience. That is, instead of taking what ran on your computer and squeezing it into your palm (as the company awkwardly did early on), it starts with the way you use your phone and builds tools around that.

Take is a unique hybrid of voice memo app and music maker. Recording is a one-tap affair – just like a voice memo or snapshot app. But because music making is more demanding than just snapping a photo, there are also built-in instruments, easy access to clicks and beats to get you going, and Instagram-like processing to make the results sound like what you’d expect (and less like a phone). Those effects to me make a lot of sense: what a tiny phone lacks in physical hardware it can (perhaps) make up for in smart computation. It’s got a better CPU than it does a mic, after all.

You can see it in action in the promo video. (It’s very much a promotional video, so if this music sets your teeth on edge, see some other real-world examples below.)

The approach could find some traction. The developer’s Figure app attracted some criticism from more experienced users who didn’t like its minimalist approach – but went on to win over a huge number of users (including many more advanced ones) with that approach.

https://www.propellerheads.se/products/take/

Make the interface understandable to anyone.

Take is certainly a pared-down interface – not only is it aesthetically cleaner (in the flatter, iOS 7-popularized style), it genuinely reduces the number of metaphors.

But Geometric Music is even more radical. It completely tosses out metaphors normally used for recording, both conceptually and visually. In their place, you see a set of abstract shapes, and manipulate those shapes to change your sound. The intention is to replace production activities with play, and encourage exploration. The app is the work of Belgian design house Superbe, who showed it off this summer at Sonar Festival in Barcelona – and walked away with the prize in the sound art category of the prestigious Appart Award, organized by the ZKM (Germany’s Zentrum für Kunst und Medientechnologie, Karlsruhe.

Geometric Music from Superbe on Vimeo.

Here’s how it works:

Each vector of the shape can be edited by selecting Normal – Reverse – Down – None. Than the shapes give the base of the rhythm. Circle is a one time sequence, triangle is three, square is four, hexagon six. The size of each shape can be changed to modify the speed.
By moving the shape up and down, you can influence the volume and by moving from left to right you influence the stereo.
The random button hides some surprising patterns.

You can grab the app for free on Android or iOS – or run it in a modern browser on the Web.

http://geometricmusic.be

Geometric_10

Make sound as easy as taking photos or sending texts.

Some apps will go even further to make people use sound.

Waved sees phone calls and texts as direct rivals, and makes sending people voice recordings as quick as a single tap. The idea is simple: make a tap to record, and a tap to play, so that you can send voice faster than you can type in a message or make a call.

waved

The San Francisco-based developer is just getting going, and it faces some fierce competition from audio functionality in tools like WhatsApp and Facebook Messenger. But the speed of the interface is impressive (even in this unfortunately amateurish hands-on video):

Waved Teaser from Waved on Vimeo.

If you think of the massive popularity of photos, it’s clear that there’s a link between quick gestures and access to a feature and how much that feature gets used. So Waved is a model worth considering even for music apps.

Watch this space?

My guess is that we will see some hits in this area, and they will in some way touch elements of each of these approaches. Remember, a tool doesn’t have to be complex to be useful to music; it doesn’t really even have to be “professional” per se, or replicate the functionality of a whole studio. Artists like The Beatles recorded demos on little multitrack tape recorders. I remember distinctly growing up with a My First Tape Recorder (like many of my generation).

Sometimes, all you need is that record button. A lot can happen from there – and it doesn’t have to look like a jet plane cockpit just to get the job done.

On the other hand, simplicity alone doesn’t attract users. So the challenge here is whether these are tools people actually want to use.

It’ll be fun to watch what happens next.

For more use cases, here are some more of those videos from Propellerhead. Really clever stuff – and a very different phenomenon than what you get from Reason.

The post These Apps Use Quicker Interfaces To Encourage More People to Use Sound appeared first on Create Digital Music.


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Smooth your sound with Brainworx Refinement

Monday, August 25th, 2014

Refinement is essentially a mastering tool for smoothing over any harshness in mixes, by adding tube like saturation and EQ to soften any frequencies that are particularly standing out and painful to the ears! And of course, being a Brainworx plug, it has mid/side capabilities. If you’re not sure about mid/side techniques – this article is great for starters:

The GUI is the usual Brainworx sexy black affair – although this time there is a flickering image of a tube filament in the middle, which lets you know with it’s flickering whenever it’s in action.

Damping

A large knob on the left hand side of the GUI is in charge of damping those pesky frequencies. It seems that the frequencies in question are in the upper mids, and the damping knob is essentially a fixed frequency EQ, centered around the areas that tend to cause the harsh sound. How they decided where to center that comes down to the years and years of combined experience, but it sounds like the 2-4 Khz. There are two character types of filtering – soft and hard, or second order and fourth order, which I think might be like the shape of the EQ bell (kind of like the difference between a 6DB filter and 24DB filter). Either way, it affects the way the damping interacts with the source material, and gives you a couple of options. There is a handy solo button just below it, which gives you the exact audio information that you’re filtering out, when pressed.

The damping can be offset by saturation and presence. They’re not really character-type effects, but more just adding smooth highs, and analog type warmth to offset any dullness caused by the damping. They are both excellent sounding, and really bring life to the mix

The damping can also be modulated, with a dynamic range section that limits the damping to peak levels, with options to control the amount of damping, and the speed at which the dynamic reduction kicks in.

As is essential with Brainworx plugs, there is a Mid/Side button, which enables you to choose whether to affect the sound just in the Mid channel, or to use it on both. For the refinement process it seems that the majority of the time, you’re going to want to remove those harsh frequencies across the stereo space.

There’s also a mix knob, which gives you more control over how much you want Refinement to affect the entire mix.

Oscillator

This is the one section of the plugin that I couldn’t really understand the point of – it has a “what else can we add to this plugin” feel to it. It is possible to use it as a subtle creative effect, like a tremolo vibe. However, for use as a side-chain pumping type effect, I would want more control over how it pumps, to get it flowing better rhythmically. It seems that it’s only a sine wave shape that’s available for the oscillation, which compared to other ‘side chain’ style lfo plugins just doesn’t cut it. There needs to be more options.

The Sound

I found refinement to be a useful tool. I found that it worked best on Drum Buss, Synth Buss and 2 Buss. It does what it says on the tin, gently dulling down the digital edginess of some audio, while at the same time lifting the air and life back out of the sound with the saturation and presence knobs. It’s definitely a subtle operator, and the ‘less is more’ adage works best with this effect.

here’s a great video demoing the plugin:

Conclusion

There is no doubt that refinement is excellent at what it’s designed for. I think it’s most useful at the mastering end of the chain, and can subtly but powerfully change the mix for the better. It strikes me as a sort of ‘Waves One Knob’-esque sort of plugin. I think it would be possible do everything that Refinement does, with a lot more in-depth control, with 5 separate plugins. Refinement shines because it’s all there in one plugin. If you have an irritating harshness to a mix or a track, it could really save a lot of time over opening an EQ, then a saturation, then an exciter, then a compressor, etc. I would heartily recommend this plugin as a massive time-saver over being anything groundbreaking and fresh.

Price
$ 199

Product page

PROS

  • Few tweaks really can smooth the sound
  • Simple and quick workflow

LOVE IT OR HATE IT

  • This is quite a specific plugin. Unless you’re looking for something that can quickly smooth out harsh sounds in tracks, you’re unlikely to really need it. Having said that, there’s nothing else quite like it out there

CONS

  • Not much depth to parameter control

Written by Andy Dollerson

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Sound Radix updates 32 Lives to v1.0.5 – adds support for Steinberg Virtual Guitarist 2

Saturday, August 23rd, 2014

Sound Radix has updated 32 Lives to version 1.0.5 which brings support for Steinberg’s Virtual Guitarist 2 and improves overall stability. Improvements in this update include: Fix for a rare crashes w [Read More]
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Kreativ Sound releases “Vicious” and “Ferocious” soundsets for impOSCar

Friday, August 22nd, 2014

Kreativ Sound has announced the release of two new soundsets with 36 presets each for impOSCar and impOSCar 2: Vicious: 36 beautiful, wild and raging sounds in FXB format. Ferocious: 36 analog, warm a [Read More]
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