Read the full story @ KVR Audio
Sound Magic has released Piano Thor, offering the sound of the piano “Thor” developed from the most famous Steinway piano – perhaps the most famous grand piano in history. This is the Steinway D num [Read More]
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Sound Magic releases Piano Thor for Win and Mac VST and AU
Thursday, February 2nd, 2012
Visual Sound Dual Tap Delay
Tuesday, January 31st, 2012Like many other Visual Sound pedals, this is a two-in-one design, although with channel one’s modulation control you can add in chorus too.
Aside from that, the two delay channels are identical: maximum one-second delay time and controls for time division, delay time, repeats and effect level plus a manual/tap switch and mini tone control. Three hefty footswitches operate each channel’s on/off status (both can be used simultaneously) and the tap tempo.
It’s a mono delay but we have two outputs – mono, plus an output to a second amp, which can be switched to effected or dry. You can also mute repeat trails when the effect is off.
There’s an external tap/click input socket too, for a new external click track box (to be launched next year) allowing the unit to sync to an external source or transmit BPM.
Sounds
Classed as a ‘hybrid analog/digital circuit’ we hear the clarity of digital with the tone turned up, with the option of more analogue sounds with reduced tone and potential for self-oscillating mayhem if that’s your bag. It’s dead easy to use, but complex ‘multi-head’ repeats can be achieved with both channels on and different time division settings.
To say the pedal market is swamped with delay pedals is an understatement. This is one for old-school occasional delayists; there’s no programmability, but if you need a little slap back for a couple of songs or a more modern tempo-locked modulation, it’s all here.
Read more about Visual Sound Dual Tap Delay at MusicRadar.com
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Q&A: Witch software has the best sound for recording and mixing sonar 8 or cubase 4 or nuendo 3 thanks?
Friday, January 27th, 2012Question by Jtm226: Witch software has the best sound for recording and mixing sonar 8 or cubase 4 or nuendo 3 thanks?
Best answer:
Answer by Techgique
They are actually recording software, not evil “witch” software as you suggest. However, Cubase and Nuendo are basically the same thing, but Nuendo is meant more for large studios running multiple linked sessions. Cubase is fine for home recording.
Sonar is the same thing, but it is only available for PC unless they support parallels or bootcamp. As far as sound quality is concerned, neither will record better. That comes down to your mic, the room you record in and for mixing it will come down to the monitors you use for critical listening.
If you were to take the same room, mic, speakers and recording, they would sound identical on both programs. Get the one that you think would work better with how you work. You don’t want to use a program where you’re constantly fumbling about, but as a warning, none of the programs are “easy.” They can be learned, just keep at it.
Cheers
Add your own answer in the comments!
Curating Sound: Exploring Performance and Embodiment, in Live Excerpts and Analysis from BodyControlled
Thursday, January 26th, 2012Continuing our insight into this view into electronic music performance and art through the lens of BodyControlled in Berlin, we’re joined by guest writer Kristin Trethewey. Kristin, a Canadian-born video artist and curator, takes another look at LEAP and BodyControlled, on the eve of its second installment. She gets straight at the question of what “BodyControlled” means, and what it can mean for sonic performance and creation. And I wanted to make sure to subtract myself from this write-up, seeing as I was playing – but see the excellent timelapse of the evening, above. -Ed.
LEAP is one of these spectacular Berlin venues you’ve been hearing so much about. It’s a huge, raw space with a view of Berlin’s landmark TV tower, hosting interesting art events with cheap drinks and the potential for a late-night party. But it’s unique, too, in its focus on electronic arts. And unlike other media arts centers, it’s not filled with computers and half-finished electronic projects. I’ve truly gotten lost trying to find this place (it’s tucked away in a mall), so I would recommend watching the timelapse video LEAP shot that guides you to the entrance before attempting to go there. Tonight is the second edition of BodyControlled, a new bimonthly performance series at the space. This installment, called “matter incompatible,” is held in conjunction with the Transmediale Festival under the satellite program, Vorspiel.
Robert Henke at BodyControlled, somewhere deep into a 12-hour performance. Image courtesy LEAP.
BodyControlled is a series focused on the intersection of performance and electronics. You can expect future programming to focus around ideas of “feedback” and “bio” related electronic performances. In its first installment back in November, a packed LEAP gallery witnessed performances by Robert Henke, Peter Kirn [editor of this site], Stephen Cornford, and Paul Whitty. The event was called “Other Spaces” and took the physical architecture of the gallery as a point of departure. Having the space filled with people made for a secondary concern of space: its use. In a series whose title mentions the body, I witnessed one performance engaging the bodies that were filling the space. Robert Henke’s twelve-hour set activated interactions between the audience, performer, and environment. He moved around, listened and mingled with the audience, even though he had this amazing, souped-up control station complete with ambient lighting.
CDM’s Peter Kirn (neverheardofhim) at BodyControlled in November. Photo courtesy LEAP.
Other artists put more emphasis on the manipulation and dislocation of space through the use and abuse of electronics. Kirn worked with a custom rig with tablet-controlled original software built in open-source software Pure Data (Pd), controlled by a tablet running Konkreet Performer. Excerpt:
Electronic autopsy: Whitty and Cornford at work. Photo courtesy LEAP.
Whitty and Cornford actively deconstructed electronics in front of the audience:
it pays my way and it corrodes my soul (2011)
Stephen Cornford & Paul Whitty’s performance “it pays my way and it corrodes my soul” seeks out musical material by physically dismembering playback equipment. A reel-to-reel tape recorder is switched on and its mechanism amplified with a variety of microphones while it is taken to pieces. The sounds produced are then fed through an array of pedals: the machine’s belts, gears, switches and casing becoming an instrument subjected to a live audio autopsy
Excerpt:
Cornford was also interviewed by LEAP for his installation work, featuring repurposed tape machines:
As João Pais, co-curator of the event with LEAP’s Daniel Franke, puts it:
“BodyControlled means the main direction of the series, to present performance and installation works that have a strong, corporal identity. This can be manifested in many ways, not only implying a “moving performer”. The purpose is to avoid the extreme of abstract performances made by a laptop-er, sitting down as if writing emails. In the first event, this idea was shown by interpreting/filling the space of LEAP through a sound-performance (Kirn, Henke), or an installation (Cornford, Mathy, Oliver).”
See also my write-up for ARTSCARDS from last month:
Other Spaces Generates New Spaces Through Sound at LEAP
The second event, “matter incompatible,” draws reference to the Transmediale theme: In/compatible, acknowledging the less clear, even dark forces at play in the artistic and political climate today. Matter Controlled questions the idea of the object or anti-object within sonification. See CDM’s write-up from yesterday:
Watch Artists Talk About Making Sound From Matter; Thursday Event and Stream in Transmediale Prelude
From the Transmediale podcast, some explanations of the theme of the larger festival:
Kristoffer Gansing elaborates on the festival theme in/compatible, as well as the in/compatible symposium: systems | publics | aesthetics.
Tatiana Bazzichelli is the curator for out new project reSource of transmedial culture and speaks about its concept.
Jacob Lillemose speaks about exhibition Dark Drives: Uneasy Energies in Technological Times which he is curating for transmediale 2012 in/compatible.
Sandra Naumann is the curator for this year’s performance programme The Ghosts in the Maschine, which she explains a bit more in detail.
And Marcel Schwierin tells us about his concept for the video programme he is curating for transmediale 2012 in/compatible.
Performances by Echo Ho, Mario De Vega, Alex Nowitz and Ignaz Schick will investigate this blurry region between the immaterial and material. I am curious to see what objects they will bring to play with. As they potentially seek liberation from the physical objects, by reimagining their sonification, I wonder how they are also reliant and maybe even drawn towards their objectification. Bringing these disparate emotions into play is at the heart of tonights investigation. In today’s climate fractures exist between so many aspects of our lives. These performances seek to bring some of them together, compatible or incompatible as we might discover.
You can watch the proceedings via live Internet stream, for the majority of you not in Berlin for the live show.
More Photos
About the Author
Kristin Trethewey is a Canadian video artist, cinema performer, and curator. She holds an MFA from Brooklyn College in Performance and Interactive Media. A multi-disciplinary curator and artist for the past ten years, she has recently completed a residency at the Node Center for Curatorial Arts, was co-Director/co-Curator of the INDEX Festival. She currently lives in Berlin.
Fruity Loops sound won’t stop playing in song?
Thursday, January 26th, 2012Question by : Fruity Loops sound won’t stop playing in song?
I added a “Rain” sound to Fruity Loops that goes on for a whole minute, but I want it to end sooner, what can I do to make it fade away or cut off or something after about 30 seconds? I’ve literally been trying to move the piece around and shorten the bar in the piano thing and such, I am so frustrated!
Thank you so much if you can help me.
Best answer:
Answer by Melissa
hit F9 so this box of stuff comes up and right click on a pattern on the F9 box that appears, when right clicking you’ll see open audio editor. You can change the length of the sound. Save the sample or sound or whatever
Know better? Leave your own answer in the comments!
Watch Artists Talk About Making Sound From Matter; Thursday Event and Stream in Transmediale Prelude
Wednesday, January 25th, 2012Alex Nowitz for BodyControlled #2 from CDM on Vimeo.
Electronic media artist Mario de Vega (Mexico City/Berlin) says his work plays with the creation of “unstable systems.” As part of the official Vorspiel, or lead-up, to Berlin’s massive Transmediale festival, here we get to visit two artists working with the materiality of live performance, drawing from the festival theme of “in/compatible.” The sonic environments they create seem poised on the brink of sonic chaos, a dance at the edge of entropy.
CDM will again be editorial co-presenter of BodyControlled; you can see the show for free (donation suggested) in Berlin at LEAP, or tune into the live video stream from anywhere in the world, and we’ll be bringing you details of the artwork. We’re a ticket to Alexanderplatz that’s even cheaper than easyJet, in other words. The performances start at 20h CET Thursday, 26 January. (That’s 2p East Coast time / 11a Pacific, so scare your office mates and turn it up loud.) Full details below.
At top, composer/singer Alex Nowitz demonstrates his gestural performance techniques. I got to see his work for the first time at the Patterns + Pleasure Festival in the fall at Amsterdam’s STEIM research center. While at STEIM, Nowitz built on previous work with the Wii remote, and augmented his gestures with a new instrument, entitled the “Strophonion.” You can see that creation here.
With each contortion of his body, Nowitz rips apart sounds, all while sputtering non-lingual utterances with his gymnastic voice. In the Amsterdam performance, one had the sense of following him into the Schwarzwald (Black Forest), an operatic odyssey echoing with forboding birdsong. But the system can also be dynamic and even, at moments, whimsical.
steim.org/projectblog/?p=3715
nowitz.de/
For his part, Mario de Vega’s “unstable systems” flirt even more with this notion of engineered incompatibility, with sounds that seem like they will explode in an earthquake-like tremor.
Mario de Vega for BodyControlled #2 from CDM on Vimeo.
Films by João Pais, co-curator of the series; edited by CDM.
Also on this program, more works engage the idea of what the curatorial statement terms “hidden acoustics”:
Echo Ho (Canada/Cologne, DE)
Tuned to Site #26012012
This title is from a series of concerts, called “Tuned to Site #…”. As a whole, the series formulates the idea of “musification of urban landscapes”.
In the first performance of this series in 2012 Echo Ho will play a set of instruments: a self-fabricated hybrid semblance of the ancient Qin from China, which combines traditional acoustic and digital interfaces in one unique transparent plexiglas body. Like a sensor box, it will enable Echo Ho to make field recordings of inaudible hidden sounds within
the city environment, such as electro-magnetic fields, variation and wind movements. The performance thus marks the process of generating action by outlining situations in which sounds may occur.
Ignaz Schick (DE)
Turntablist, sound artist, performer & composer Schick promises, through motors and objects, genuine accidents:
Site-specific performance with transducers, wireless controllers, feedback systems and back tape
Through accidents and their outcomes, actions, processes and objects that conceptually connect with acoustic
information, the work of Mario de Vega researches the value of vulnerability, exploring the causes and effects that
determine the construction of realities. In this site-specific performance with transducers, wireless controllers, feedback
systems and back tape, de Vega is investigating aesthetic and social realms through a multiplicity of mediums.
Curator João Pais tells CDM that this installment, in keeping with Transmediale’s theme, will “give the performers a room where they can show their ways of working with the dissociation of matter (through sound, in this case) and expression.”
This episode includes two self-made instruments that expand on existing practice, he says, in the case of Nowitz and Ho, and the hacked and modulated machines of Schick and Vega.
More information; where to see the show
26 January 2012, 20h (free/donation)
Anywhere in the world – all performances will be available from 20.00 CET via live stream:
http://bit.ly/uXRgyq
Facebook: on.fb.me/AmEtO9
LEAP
Lab for Electronic Arts and Performance
(Berlin Carré, 1. Stock)
Karl-Liebknecht-Str. 13
10178 Berlin
Vertigo Sound / Brainworx VSC-2 Plug-in
Sunday, January 22nd, 2012VCA-based compressors are probably the most commonly available units worldwide.
Most manufacturers have at least one VCA-based unit in their product range and, consequently, they span the complete price spectrum. German manufacturer Vertigo Sound fits very much into the high end of that spectrum, both in price and quality.
“This little beauty doesn’t just deal with any sound you throw at it; it excels with all of them.”
The analogue version of the VSC-2 has a big reputation in studios all over the world. At nearly £4,500 it still manages to twist the arm of many audio pros that try it into buying it: quite something in these cash-strapped times.
Fortunately for those with shallower pockets, Vertigo have teamed up with FM favourites and recent UAD companions Brainworx to bring us a software plug-in version.
Blue for you
With its bold blue front panel and black and white knobs and meters the VSC-2 is reminiscent of many late ’70s and early ’80s devices. It has a straightforward but comprehensive control set.
Starting on the left is the continuously variable threshold. Next comes the ratios and here it’s a bit more complex.
The stepped controller starts at Soft and steps through 2:1, 4:1, 8:1, 10:1 and then to Brick. The Soft setting certainly does what it says on the tin and provides a very gentle soft knee response even if you really hammer the input.
As you step up the ratios, the VSC-2 ‘pulls’ much harder, right up to the Brick setting where basically nothing is going to get past it.
Next come the attack and release sections, both controls being stepped. As you can see from the picture, these are all but identical to the attack and decay settings of the SSL Buss compressor, among others.
Those values have certainly proved themselves popular with plenty of engineers worldwide – so if it ain’t broke… The final knob is a continuously variable gain make-up.
The VSC-2 is also able to work as a dual mono device, so you get separate left and right switches for in/out and for the sidechain filters. These are there to prevent excessive pumping of low end, particularly when used on program material, by removing some of it from the detection circuit. They’re set at a very useful 60Hz and 90Hz.
On the level
In operation, the VSC-2 proves itself to be a very versatile beast. Although big, expensive stereo units such as this are normally aimed at the mix buss or drum groups, the mark of a truly great compressor lies in its ability to deal with many and varied sound sources. This little beauty doesn’t just deal with any sound you throw at it; it excels with all of them.
Starting with a stereo drum group you can go from a small amount of subtle compression to savage limiting – and through every stage in between. Even when being hit really hard, the VSC-2 doesn’t lose the clarity of the source sound.
With minimal choking of the high end and judicious use of the sidechain filters, the low end won’t start to pump the signal too much.
On the mix buss it’s the same thing: great sounding compression that you can take much further than you’d expect without the signal collapsing into mush or just becoming very one dimensional.
Lower ratios give a really pleasing tightening of the overall sound, and higher ones grab hold of the peaks and put a real energy and drive into anything with strong percussive or groove elements.
With acoustic instruments, its subtle side takes the fore. Acoustic guitars lose none of their air but gain a powerful presence in the track. Attacks can be tamed or enhanced and auto release helps to provide some really smooth results. Pianos can be given the high-energy treatment or brought under control without losing their sense of dynamic.
Bass is a very different animal altogether and often requires quite a heavy hand to make it behave. With both synths and bass guitar the VSC-2 stands for no nonsense.
It keeps the sound big and fat while ironing out the peaks and troughs without any hint of trouble. On subtle warmer basses it enables you to leave the low end plenty of room to breathe with no compromise in the level control department.
Vocals also benefit from the VSC-2 treatment. Because it doesn’t trash the high end with extreme settings it’s possible to pull a very dynamic vocal into line. We tried it with the old trick of chaining two together, the first one set to Brick to knock off the peaks and the second set to 4:1 and pushed hard to give the sound.
The combination added real excitement to the voice without losing transparency, and the nasty peaks of the original were tamed without the obvious choking you get with some units.
On softer voices it’s possible to get just the right amount of gain control while adding some warmth and strength. All in all, great for vocals.
Whatever you want
The VSC-2 could very easily become your ‘go to’ compressor: subtle and smooth when required, but fat and ballsy when you need it, too. Its excellent transparent quality coupled with its innate ability to pump up any sound that passes through it makes it one of the most versatile and desirable plugs available right now.
In short, this is a fabulous analogue compressor successfully transported into the digital domain at one-twentieth of the price of the original unit. Hats off to Vertigo Sound and the Brainworx team.
Read more about Vertigo Sound / Brainworx VSC-2 Plug-in at MusicRadar.com
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Applied Acoustics Systems announces expansion of its Sound Bank Series with titles for Chromaphone
Saturday, January 21st, 2012
Read the full story @ KVR Audio
Applied Acoustics Systems has announced the expansion of the Sound Bank Series with titles for Chromaphone, its latest creative percussion synthesizer. Renowned sound designers Martin Walker, Simon St [Read More]
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Q&A: How to make FL studio sound proffesional?
Tuesday, January 17th, 2012Question by : How to make FL studio sound proffesional?
i was wondering if anyone knows how to make FL studio sounds sound proffesional, i play around with the instruments and everyting in sytrus but even when i finish a song it just sound unproffesional. anyone got tips on how to alter sounds etc?
Best answer:
Answer by yabanize
Add FX filters in the mixer, stuff like reverb, phasers, etc
Know better? Leave your own answer in the comments!
Q&A: how do I make a twangy guitar sound in FL studio 9?
Thursday, January 12th, 2012Question by : how do I make a twangy guitar sound in FL studio 9?
I’m looking for how to give a guitar that twangy sound, like you hear in 60′s surf music. How do i do that by using FL studio?
Best answer:
Answer by Robert G
If your guitar doesn’t have single coil pickups, you will have some work to do. First, a parametric eq is a big help to emphasize the highs. Graphic eq usually doesn’t cut it. Second, you will probably want to use the the bridge pickup and spring reverb. Picking closer to the bridge also brightens the sound up. Adding tremolo helps as well. If you are trying to use fruity loops to synthesize the sound, as opposed to actually playing the guitar, good luck. I have yet to hear any synthesized guitar that comes close. You would need sampled parts to do this, and I am not sure how good fruity loops is at that.
Add your own answer in the comments!