NAMM 2023 - Sound Particles - Skydust 3D

video upload by sonicstate

"Sound Particles, a company that specializes in 3D sound and immersive audio, showcased its latest product at NAMM 2023. Nuno from Sound Particles introduced the 3D synthesizer Skydust 3D, which allows musicians to play notes and instantly hear them in a three-dimensional space. The synthesizer supports more than 30 output formats, including 7.1.4, and has eight oscillators, each with a position in space. Musicians can use envelope generators, LFOs, and sequencers to create 3D arpeggios and other spatial effects.

The synthesizer comes in two versions: a stereo version and the more advanced version called SkyDust 3D and can be purchased from SoundParticles' website or other plugin stores. The aim of the 3D synthesizer is to provide musicians with a tool that allows them to think about space and use it in the same way as they use melody, rhythm, and harmony.

Skydust Price: 149 USD
Skydust 3D Price: 299 USD

More info:
Sound Particles website: https://www.soundparticles.com/

Try Sound Particles for free: https://www.soundparticles.com/produc..."

Introducing SkyDust 3D - Spatial Synthesizer

video upload by Sound Particles

SkyDust 3D Overview

video upload by Sound Particles

"Here's the overview of our groundbreaking product SkyDust 3D - the first 3D Synth in the World. It's fantastic for stereo and exceptional in 3D, making it the ideal choice for music producers, composers, keyboardists, DJs, and all professionals working with music.

Try SkyDust 3D for free: https://www.soundparticles.com/produc..."

"SkyDust 3D is the first spatial synthesizer plugin in the world, which allows you to play a note and get instant 3D sound in any immersive format. It’s fantastic for stereo and exceptional in 3D."

"Sound Particles 2

Sound Particles is an immersive audio software capable of generating thousands (even millions) of sounds in a virtual 3D audio world. Creating highly complex sounds has never been this quick."

Kronecker - Clockwork Synthesizer

Published on May 20, 2018 iceGear Instruments

iTunes: Kronecker Synthesizer

"Kronecker is a synthesizer with a mechanism to make sounds many times like a rhythm machine each time you press a keyboard.

In addition to synchronizing the trigger speed to the tempo, you can gradually increase the speed or slow it down after pressing the key. This makes it possible to produce synthesizer sounds like bouncing balls and clockwork toys.

Kronecker has four emitters that emit sound particles made from FM tones and noise. At the emitter you can specify at what timing the sound particles will be triggered. You can also add effects such as the pitch and tone of particles gradually changing.

Particles emitted by the emitter can be processed with two resonators, and you can reproduce sounds like particles jumping on strings and pipes.

Kronecker works not only on the iPad but also on the iPhone. It also supports Audio Unit Extensions (AUv3), so you can plug in to AUv3 compatible host. For each screen size, different layouts are designed to be easy to use and intuitive."

sonicPlanet - First Experiment with StarWaves

video uploads by sonicPlanet


video upload by Richard Devine

"StarWaves is an audiovisual sound architect, the embodiment of sound, space and visual design rolled into one. Presented by sonicPlanet www.sonicplanet.com, it is a move towards the next generation of sound design apps.

Available for OSX and iPad (Windows version later), minimum hardware requirements : for iOS an 2019 iPAD (8th gen or pro) or newer, for OSX a recent Mac (2019 i7 or M1)"

via the user manual on SonicPlanet:
StarWaves is an audiovisual scene architect, the embodiment of sound, space and visual design rolled into one.

StarWaves gives the sound designer the architect’s role by creating possibilities of dialogue between these multiple elements.

IN THE MAKING OF SONIC ARCHITECTURES
StarWaves can import the sonic material in its concrete form as recorded files. Then this digital data is being represented as 3D rigid physical forms in space. We name them “the platform blocks” distributed spatially, a structure which stems from the sonic material being imported. There can be 100s of them, reaching the granular levels of sonic material. The layout of the platforms can be designed with 3D tools like positioning, rotation; they can be stretched, bent, scattered along their physical dimensions in continuous transformations.

As Goethe wisely stated : the architecture itself is 'frozen music'. How do we interact with this architecture to create the sonic textures ?

We know that sound travels as waves in an environment. It originates from a source and travels towards a distance, then interacts with the surface material of the environmental objects, gets

SONICPLANETTM
reflected, refracted, and absorbed within all the physical reality of its nature, granting a flexible relation to spatiality.

Sound remains as a hidden existence until it reaches our body. StarWaves uses on its scene the transmitters which send particles and beams of light to the space ( reminiscent to particle behavior of light or sound ) They hit the platform blocks ( representing the sonic material ) get reflected and collide with further objects, travel in distance until they die.

The time they collide with these rigid bodies they trigger sonic events and start a flow of synthesis processes. It is this continuous kinematic interaction, this physical realm which composes the sonic being and applies continuous transformations on its texture.

CLICK FOR MORE »

"Poetry at the core of arts" with a Dedication to Pierre Henry by Marc-Henri Arfeux & the Access Virus

Many of you will be familiar with the Access Virus compositions by Marc-Henri from previous RADIOKLOW posts. Marc-Henri bridges the gap between electronic music and other forms of art. His most recent work is a poem in tribute to Pierre Henry accompanied by the Access Virus. The tribute is hosted on La poésie au cœur des arts : le Blogart which translates to "Poetry at the core of arts". Click through and click on the Access Virus image to get to the piece.

via Marc-Henri:

"This site called 'Poetry at the core of arts' is the net the extension of a book of the same title, an anthology of poetry published by the french publisher : Editions Bruno Doucey. The book contains a poem I wrote about electronic music. The site was conceived to developp an exploration for some of the poets and artists of the book. I am one of them for, poetry , music and painting.

You will find the poem I wrote for the book, three pieces of music composed in january 2014, four poems by other authors of the anthology, three improvisations performed in early february 2014, a former composition called De Haute Vallée you have seen in the form a video in late 2012, an interview in french and some photographs taken at my flat when I was interviewed."

The following is Marc-Henri's poem translated into English:

"Orpheus veil"

Fly down into Orpheus ear,
Where roll clockworks
Of the forbidden stars
And voices shreds seeking vision.

Listen at the well of walls
Echoes of illuminated faces
In their bronze palaces.

Pavings, folds of roses,
The naked heels
Playing the freshness game
With embers
And the childhood kisses.

Travelling back to horizon,
In the limestone of nights,
Is now the prophecy of the spices,
With its tissue gifted with red
And the sobbings of an initiation.

Marc-Henri Arfeux - 2013

----------

Update: the following an English translation of the interview with Marc-Henri Arfeux on "Poetry at the core of arts". It is a fascinating read and reminds me of why I initially got into synths. My first synth was a brand new Oberheim Matrix-6 back in 1986. When I first started exploring the Matrix-6 I had no idea what the parameters did, so I just dived in. For me it was an exploration of sound for the sake of sound and a fascination in creating musical instruments never heard before. The focus was on that exploration rather than the attempt to mimic real world instruments. Much of this spirit is covered in the world of musique concrete and is captured in the interview below. Do not miss the part on the short wave radio. Truly fascinating and an inspiration for sonic exploration.

CLICK FOR MORE »

Native Instruments Announces ABSYNTH 5

"Berlin, September 1st, 2009 - Native Instruments today announced ABSYNTH 5, a new generation of the acclaimed semi-modular software synthesizer that is renowned for its unique evolving sounds and textures. The new version enhances the profound sonic capabilities of ABSYNTH with powerful additional synthesis and effects features as well as overall improved audio quality, and offers an ingenious new way to create complex sounds based on musical attributes.

Popular among professional composers and sound designers as a distinctive instrument for innovative timbres and complex soundscapes, ABSYNTH has now been upgraded with special sound shaping features that further widen its remarkable sonic palette. A powerful "Supercomb Filter" opens up a new world of physical modeling-type sounds with intricate acoustic resonances, while the new granular-based "Cloud Filter" can add both subtle and drastic spectral modulations. The addition of filter feedback paths also enables a whole new range of organic, gritty and unpredictable tones.

The versatile effects section of ABSYNTH has been expanded with the new "Aetherizer," a unique algorithm that breaks up sound into microscopic particles and rearranges them in complex ways, creating sophisticated and previously unheard sound treatments. With all parameters available for realtime modulation via versatile envelopes and MIDI control, the Atherizer also supercharges the popular application of ABSYNTH as an extraordinary creative effects processor for external audio material.

ABSYNTH 5 also introduces the "Mutator", an innovative feature that enables intuitive sound creation and variation based on actual musical terms. For any given preset, users can choose specific attributes from the sound browser that they want to change the sound towards. The software then analyzes other presets related to these attributes, and adjusts the original patch to adapt the desired sound characteristic. Combined with various customization options and an adjustable randomization function, the Mutator allows all users of ABSYNTH 5 to create unique and complex new sounds in an efficient and highly convenient way.

The comprehensive sound library of ABSYNTH has been expanded with 250 new presets that make use of the new soundshaping features, resulting in an arsenal of over 1,800 ready-to-play presets that are all easily accessible through the integrated KORE-compatible sound browser. To further refine the general audio quality, ABSYNTH 5 also utilizes new oversampling algorithms in various stages of the signal path that enable increased sonic clarity in the crucial upper frequency range.

ABSYNTH 5 will be available in October 2009 for a suggested retail price of $199 / 179 EUR, and will also be part of the new KOMPLETE 6 bundle. An update for owners of previous versions of ABSYNTH will be available for $79 / 69 EUR.

More information on ABSYNTH 5 including audio demos can be found at
www.native-instruments.com/absynth5.info

About Native Instruments:

Native Instruments is a leading manufacturer of software and hardware for computer-based music production and performance. The company's mission is to develop innovative, fully integrated solutions for all professions, styles and genres. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike."

Digital Collisions for iOS

"Digital Collision is a unique sound generator based on physics collisions algorithms.
It can produces real nice sound textures from the most clear to the weirdest granular.
The sound engine is a polyphonic tone generator.

It is the second application designed by Julien Bayle (known as protofuse on the digital electronic music scene)

Touch the screen to create particles.
Each particle lives its own life, making sounds while bumping walls or meeting the other particles.

By clicking on Menu, you can control particles lifes & sounds.

Zen defines the quietness of particles.
Autogeneration is a special mode where particles are generated automatically, sometimes.
Birth defines the amount of automatically generated particles in Autogeneration mode.
Delay Amount is the percentage of delay fx, Time is the length of the delay,Feedback is the percentage of output sent back inside the Delay, Symmetry is the most strange parameter involving stereo disorientation.
Filter Freq control the center frequency of the global BandPass filter & High Notes is the Highest Note produced (MIDI notation)

You have to test the Noise.
It produces an unique & nebulous collision soundscape & you can control the amount of nebulosity.

The background of the application is totally time-sensitive.
It can be black at night and light grey at day, a manner to express the living behaviour of the machine"

via @julienbayle



iPads on eBay
iPads on Amazon

iPod Touch on eBay
iPod Touch on Amazon

::vtol:: metaphase sound machine (video 2)

::vtol:: metaphase sound machine (video 2) from ::vtol:: on Vimeo.

"The Metaphase Sound Machine is a kind of homage to the ideas of the American physicist Nick Herbert who in the 1970s has created both Metaphase Typewriter and Quantum Metaphone (a speech synthesizer). These were some of the first attempts to put the phenomenon of quantum entanglement in practice and one of the first steps towards the creation of a quantum computer. The experimental devices, however, had not confirmed theoretical research, and Herbert’s obsession with metaphysics resulted in the publication of several of his works on the metaphysical in quantum physics, that have led to a serious loss of interest to the ideas of quantum communication. One day, in a course of his experiments, Herbert has hacked into an university computer trying to establish a contact with the spirit of illusionist Harry Houdini at the day of the centenary of his birth.

In his device Herbert in order to achieve a quantum entangled state used as a source radioactive thallium, which was controlled by the Geiger radiation counter. The time interval between pulses was chosen as conversion code. Several psychics had participated in the experiments. They tried to influence the endless stream of random anagrams arising from a typewriter or cause "the ghost voice" to be heard out of metaphone. Scientists also have conducted sessions to bring about the "spirit" of a colleague who had recently died, and who knew about this typewriter. In 1985 Herbert wrote a book about metaphysical in physics. In general, his invention and articles quite severely compromised the ideas of quantum communication in the eyes of potential researchers and by the end of the XX century no any substantial progress in this direction was observed.

The Metaphase Sound Machine is an object with 6 rotating disks. Each of the discs is equipped with acoustic sound source (a speaker) and a microphone. Each of the microphones is connected via computer and the rotary axis to the speakers on the disks. Also in the center of installation a Geiger-Mueller counter is set, that detects ionizing radiation in the surrounding area. The intervals between these particles influence rotation velocity of each of the disks. Essentially the object is an audio- and kinetic installation in which a sound is synthesized based on feedbacks, produced by microphones and speakers on rotating discs. Feedback whistles are used as triggers for more complex sound synthesis. Additional harmonic signal processing, as well as the volatility of the dynamic system, lead to the endless variations of sound. The form of the object refers to the generally accepted symbolic notation of quantum entanglement as a biphoton - crossing discs of the orbits.

more info - http://vtol.cc/filter/works/metaphase-sound-machine"

::vtol:: metaphase sound machine

::vtol:: metaphase sound machine from ::vtol:: on Vimeo.

"The Metaphase Sound Machine is a kind of homage to the ideas of the American physicist Nick Herbert who in the 1970s has created both Metaphase Typewriter and Quantum Metaphone (a speech synthesizer). These were some of the first attempts to put the phenomenon of quantum entanglement in practice and one of the first steps towards the creation of a quantum computer. The experimental devices, however, had not confirmed theoretical research, and Herbert’s obsession with metaphysics resulted in the publication of several of his works on the metaphysical in quantum physics, that have led to a serious loss of interest to the ideas of quantum communication. One day, in a course of his experiments, Herbert has hacked into an university computer trying to establish a contact with the spirit of illusionist Harry Houdini at the day of the centenary of his birth.

In his device Herbert in order to achieve a quantum entangled state used as a source radioactive thallium, which was controlled by the Geiger radiation counter. The time interval between pulses was chosen as conversion code. Several psychics had participated in the experiments. They tried to influence the endless stream of random anagrams arising from a typewriter or cause "the ghost voice" to be heard out of metaphone. Scientists also have conducted sessions to bring about the "spirit" of a colleague who had recently died, and who knew about this typewriter. In 1985 Herbert wrote a book about metaphysical in physics. In general, his invention and articles quite severely compromised the ideas of quantum communication in the eyes of potential researchers and by the end of the XX century no any substantial progress in this direction was observed.

The Metaphase Sound Machine is an object with 6 rotating disks. Each of the discs is equipped with acoustic sound source (a speaker) and a microphone. Each of the microphones is connected via computer and the rotary axis to the speakers on the disks. Also in the center of installation a Geiger-Mueller counter is set, that detects ionizing radiation in the surrounding area. The intervals between these particles influence rotation velocity of each of the disks. Essentially the object is an audio- and kinetic installation in which a sound is synthesized based on feedbacks, produced by microphones and speakers on rotating discs. Feedback whistles are used as triggers for more complex sound synthesis. Additional harmonic signal processing, as well as the volatility of the dynamic system, lead to the endless variations of sound. The form of the object refers to the generally accepted symbolic notation of quantum entanglement as a biphoton - crossing discs of the orbits.

more info - http://vtol.cc/filter/works/metaphase-sound-machine"

Orbiter: collisions driving sampler #3

YouTube via rubymatt — May 03, 2010 — "Now optimised to handle up to 64 particles at 50Hz. With 8 voices collisions can trigger one of two samples."

Audio not so good in the previous two vis:

Orbiter: collisions play sampler #2

"rubymatt — April 27, 2010 — Particles now have an "energy level" that is randomly assigned at initialisation time. Brighter particles have more energy. When particles collide they trigger a slice of the sample to play (the sample is divided into a number slices equal to the number of particles) based on their particle numbers. Pitch is related to Y position, Granularity to X, Speed & amplitude to the collision energy. It's all still captain random and, maybe, will never amount to much but it's been interesting getting this far and nice to hear *something* for my (quite disproportionate) efforts!"

Orbiter: collisions driving sampler

"rubymatt — April 26, 2010 — When two particles collide it now triggers the sampler. The collision parameters (and particle data) determine the resynthesis parameters. Lots of work to do here. Spectular: YouTube have stripped the audio channel from my video again leaving only the mic audio. Useless."


Update:

TMA-2: Energy to velocity

rubymatt — May 04, 2010 — "This thing doesn't get any less silly.

In the latest version particle energy now determines particle speed (brighter particles have more energy and move faster). At this point the only thing left to fix in the basic model is the result of collisions. At the moment only one particle is redirected.

It's not apparent from the video but I also spent quite some time doing further CPU optimisations to make 64 particles feasible. In the previous version I was still getting audio overloads. Even then though I have had to drop the update frequency to 25Hz.

Once the base model is complete the next thing to add is a gravity well that you can place in the vessel to deform the trajectory of particles. Since the X,Y co-ordinates of a collision determine the pitch and granularity of the sample playback this will offer a means to 'shape' the sound without directly controlling it.

A future version of the Reaktor ensemble (tentatively called TMA-2 at this point) will drive an additive oscillator bank instead of a sampler. That might prove more musical. Or not..."

Tela – Modal Synthesizer

video upload by Fors

Tela – Walkthrough

video upload by Fors

https://fors.fm/tela

"Tela orchestrates a vast array of resonant peaks, intertwined to form a critical mass of sound. It models nothing – it's a synthesizer for the here and now, to discover and create anew.

In a careful balance of depth and immediacy, Tela explores the inherent character and capabilities of modal synthesis. Like a practical joke, Tela bends a myriad of partials into perfect symmetrical waveforms only for them to dissolve into otherworldly timbres and textures mere seconds later. There are no rules.

Modal synthesis
Imagine hitting a thin piece of metal, a piece of glass or the membrane of a drum– the material vibrates and rings out with its inherent timbre, affected by the motion of the impact and the strength of the hit. This is the basis of what modal synthesis recreates.

CLICK FOR MORE »

Soundsauca Roland JD-990 Demos

"1993 must have been a vintage year. The Roland Super JD-990 is a classic digital synth with character.

Though the light from it's near 30 year old LCD may be fading (Photoshop works wonders!), the JD is still a much loved synthesizer today."

Playlist:

1. JD Worship - Roland JD-990 Demo

Spreading the JD-990 love! A little tune I put together with my Roland JD990. No external FX.

Heaven's Horns - a hi-pass filtered horn patch which fizzes down, gradually breaking across the stereo spectrum.

Dark Energy - a disturbing string patch that undulates with ghostly undertones,

Electric Eel - puts the JD990 chaos lfo to use with very short delay FX adding metallic feedback,

Binary Rain - a beautiful patch that sounds like flickering particles - it sounds different every time I play it,

Flangie Angie - a tightly flanged arpeggio sound with velocity sensitive attack, it can sound soft or hard with the mod wheel, tight and loose with velocity,

Magic Clouds - providing the heft down below with thick analog style sweeps,

JD Worship - The inspiration! A classic lead sound with the mod wheel controlling the dry/wet mix of the JD990 effects,

Lunar Mining - A repeating phased noise effect,

JD-8000 - I always wanted to make a supersaw on the JD-990. I finally found the trick, typically after I had bought a JP-8080 :) It does a pretty good impression,

Hazy Freeze - I love this sound! A melancholic lead that morphs into swirling clouds of audio,

Jungle Drums - Snappy self-oscillated S/H filter sweeps create a percussive sound. The JD has these wonderful sample and hold LFOs that slightly soften (slew) the harsh filter transitions. Later JV/XV series synths don't sound like this. The resonance also doesn't blow a hole in your ear drum when up high (always useful!)

2. Roland JD-990 - Superluminal Patches

A collection of 64 finely crafted Roland JD-990 patches. Take the deep dive into the 990’s synthesis, hearing its classic history along with futuristic sound impressions.

Find out more here: https://www.soundsauca.com/sounds/sup...

Superluminal represents a collection of Roland JD-990 patches that showcase my journey programming this awesome synth. From the cosmic interlude of the patch “Superluminal” to some seriously epic pads such as “Vista Grande”, the JD still has what it takes in 2020!

Sometimes I have to remind myself that its existence pre-dates 1993, with the slider infested JD-800 from 1991 and the D-50 from 1987!

I won’t pretend to be the first to praise this synthesizer, as I know I’m walking in the footsteps of great sound designers, but in my own way I hope to contribute to the JD’s legacy. The Roland JD-990 is a timeless classic with hidden depths to it even decades later.

One of the true great digital synthesisers.

Opal - rhythm machine & drum synthesizer

video upload by Fors

"Opal is an instrument made for intricate pattern creation. With parameter locks, probability, conditionals, ratcheting, independent track length, time division and traversal, it’s a breeze to program exciting patterns.
Opal comes with four distinct, highly malleable, synthesizers and two sequenceable effects. While the synths are tailored for creating drum sounds, it’s up to you to choose where, or if, the line between percussion and melody is drawn.

As always, every single sound and effect in this video is made with Opal."



via Opal

To sum it up

Step-sequencer with:

Parameter locks
Probability
Step logic
Ratcheting
Per-track length
Per-track direction
Per-track time division
Five tracks with:

Gem FM Synthesizer
Mass Modal Synthesizer
Dust Pulsar Noise Synthesizer
Slate Granular Sample Player
Void Reverb & Flux Sampler

+ Modulation

Gem
Gem is an FM synthesizer capable of a wide variety of sounds, from deep and heavy bassdrums to glistening lead melodies. At its core, Gem consists of 2- Operator sinewave-based phase modulation (commonly referred to as FM) that has been fine-tuned to sound rich and punchy.

With bipolar modulation and feedback, it's possible make a vast range of different waveshapes- including common analog shapes such as square, triangle or sawtooth. It's a highly malleable form of synthesis that has been boiled down to its essentials, with an emphasis on the sheer quality of execution.

Mass
Mass is a modal synthesizer, which is a type of physical modeling synthesis that employs a bank of bandpass filter to generate its sound. Typically, physical modeling is used to mimic real-world sounds, but with Mass the essence of the synthesis method is used to make all sorts of wildly synthetic sounds, often with an otherworldly quality due to its physically-inspired origins.

The sounds possible with Mass ranges from semi-realistic percussion, bells, textures, noises, strange phase-y melodic sounds to clean and precise timbres reminiscent of additive synthesis.

Dust
Dust is a noise generator that is based around the concept of Pulsar synthesis, which is a method adjacent to Granular synthesis. The sound is composed of very short particles of sounds that creates a texture when played fast and/or dense.

Dust combines concepts from all kinds of different types of synthesis methods to create anything from pure white noise to perfectly soft spectral washes. By layering multiple oscillators Dust can also generate classic electronic metal sounds which is very useful for making hi-hats and cymbals.

Slate
Slate is a sample playback engine equipped with a granular mode that can wildly transform any sample. At its core is a high quality sample playback engine with edge smoothing (click-less playback and looping), single cycle waveform support and a flexible loop mode.

The granular mode let’s you go deeper in sound design by playing back small particles in a pattern that essentially reconstructs the original sound, but with the possibility to dramatically change the speed and pitch independently

Void & Flux
The FX (effects) track hosts two different effect engines: Void and Flux.

Void is a reverb that has been fine-tuned to sound great with a wide variety of input sounds, with an emphasis on delivering good transient response. With in-depth EQ:ing of the input and reverb signal, it’s possible to greatly shape the overall tone of the effect.

Flux is an automatic sampler that continuously records the output of all the other tracks and divides it into 16 slices that can be played back by the FX track. Think of it like an always-recording tape loop that you can use to repeat or transform sections of your pattern by playing different snippets as single shot samples.

Modulation
Each engine has a dedicated modulation page with four different modulation sources that can be routed to any parameter via a modulation matrix. The different sources are Vel - velocity received from the sequencer steps (or a MIDI note), A dedicated LFO and Envelope per track, and a random value (Rand) that is received on each trigger of a step or MIDI note.

Black Octopus Sound - Event Horizon 3 (128 Presets for the John Bowen Solaris) by Toby Emerson

Published on Feb 16, 2020 Black Octopus Sound

http://johnbowen.com

This one was spotted and sent in via Soviet Space Child.

See my post on the upcoming V2.0 OS update.

"Get it here: https://blackoctopus-sound.com/produc...

Event Horizon 3 for the John Bowen Solaris has arrived. Created by Toby Emerson, this bank of 128 presets will take you on a journey of endless evolving pads, deep subsonic basses, cutting edge leads, nostalgic keys, and inspiring synth plucks. The sound capabilities of the Solaris are extremely deep, and Event Horizon 3 explores new sonic territories with the Solaris, utilizing some of its unique features such as rotors, amplitude modulation, feedback routing, wavetable modulation, Linear FM, and more. If you are looking for a huge bank of timeless and inspiring sounds for any genre of electronic music then look no further than Event Horizon 3 for the John Bowen Solaris – one of the greatest synthesizers ever made.

CLICK FOR MORE »

phonogene

YouTube Uploaded by DrOctave1 on May 17, 2011
Audibly NSFW.
"scarface in the phonogene and some 4/4 just checking it out and playing around"

via Make Noise
"The Phonogene is a digital re-visioning and elaboration of the tape recorder as musical instrument (Firmware Engineered by Flemming Christensen, Gotharman). It takes it’s name from a little known, one of a kind instrument used by composer Pierre Schaeffer. While it is not an emulation, it does share the primitive, tactile nature of it’s namesake, and expands upon the original concepts. It is informed by the worlds of Musique Concrète (where speed and direction variation were combined with creative tape splicing to pioneer new sounds) and Microsound (where computers allow for sound to be divided into pieces smaller then 1/10 of a second, and manipulated like sub-atomic particles). Having voltage control over every parameter, it is most successful as a digital audio buffer for the modular synthesist.

The Phonogene is comprised of a pair of tool-sets which work well together. Tape Music Tools allow for sounds to be recorded on the fly, layered using the internal Sound On Sound function, manually cut into pieces using the SPLICE function, and re-organized with the ORGANIZE control. Once it is Spliced up, it is possible to create nearly infinite variations of the original loop by modulating the ORGANIZE parameter, and VARI-SPEED allows for the speed and direction of playback to be controlled continuously with one control signal. GENE-SIZE, GENE-SHIFT and SLIDE make up the Microsound Tools. GENE-SIZE divides the audio buffer into progressively smaller pieces called Genes (aka particles, grains, granules). A clock signal applied to GENE-SHIFT will step through those pieces in chronological order, while a control signal (such as the Wogglebug Smooth CV) applied to SLIDE, moves through those pieces in a nonlinear fashion. Using SLIDE, random access of the audio buffer is possible. Obviously, functions such as VARI-SPEED and ORGANIZE are useful for Microsound as well, which is why these functions were grouped into one module. The end result is a sampler/ looper/ audio buffer that is able to exist within a modular synthesizer system, and offer a vast amount of real-time sound manipulation in a fast and tactile way.

There is often the expectation that “bad sounds” such as clicks, pops, distortions, wrong notes, phase in-accuracies and otherwise, should be impossible with modern musical instruments. Many designers are making instruments which are fool-proof, and which guarantee some specific musical result, thus making it easy to create the same music, over and over again. The Phonogene does NOT use this approach. In fact, we have made it very possible to make the “bad sounds” and “mistakes” that have led to some of the greatest moments in musical history (and of course, some of the worst!). With the Phonogene, it is possible to Splice sounds in such a way that you will hear sharp contrasts, clicks and pops. This is the physics of sound! It is possible to slow down a recording to point of complete decimation, so that all that remains is trail of digital artifacts. Such are the limitations of digital sound (at the moment). It is possible to render the source material completely unintelligible, to cut busted loops, to distort digitally, to obscure, to regenerate to the point of almost no signal integrity. This is the nature of the Phonogene. If you seek the perfect looping tool, in the most contemporary sense of the word, then please look elsewhere. If you desire to explore the realm of modular, digital sample manipulation and microsound, welcome!

This module is 20HP and consumes 70mA worth of current."

New Loops releases Particles - Serum Presets Expansion with 30% off intro offer

video upload by New Loops

Serum Particles Bass and Sequence Demo Video


Serum Particles Textures Demo Video

"New Loops presents Particles – an exciting new content pack for Xfer Serum with lots of new presets, wavetables, LFO shapes, noise sound sources, and more. Serum Particles is inspired by modern game and film scores like Mass Effect 2, Ghost in the Shell, Tenet, The Division 2, Deus Ex, and is full of cinematic and modern electronic sounds.

This is undoubtedly our best Serum sound pack yet and makes good use of the noise engine for unique soundscapes, textures, and pads. There's a total of 75 new Serum presets in 6 categories including, 20 evolving soundscapes and textures, 15 aggressive basslines, 15 cinematic sequences, 10 huge ambient pads, 10 dynamic keys, and 5 cutting synth leads. Also included in this Serum expansion pack are 42 audio samples for the noise engine, 22 LFO shape presets, 10 custom wavetables, and 8 presets for the delay effect.

This Serum content pack is suitable for a wide range of electronic music genres including, cyberpunk, darkwave, synthwave, film score, game score, cinematic soundscape, ambient, and many more.

Intro Price: £17.49 / 30% off until the end of September 2022 (RRP £24.99). You can also get an extra 30% off orders over £39 at newloops.com.

Free demo presets are available at https://newloops.com/products/particles-serum-presets-expansion"

10 Must-Experience Interactive Art Installations at Moogfest 2016

via Moogfest

"10 Must-Experience Interactive Art Installations at Moogfest 2016

New commissions + site-specific collaborations from artists such as
Yuri Suzuki, Kyle McDonald, and Floating Point Collective
showcase synthesis of music, art, + technology

Durham, North Carolina (May 5, 2016) - The public will experience the synthesis of technology, art, and music like never before at Moogfest 2016, where an extraordinary array of interactive art installations and immersive sonic environments will be exhibited for free at venues across Durham.

For the four-day festival exploring the future of music, art, and technology, Moogfest will present more than a dozen art installations, many of them new commissions and site-specific collaborations between artists such as Yuri Suzuki, Kyle McDonald, Floating Point Collective, Antenes, and Rangit Bhatnagar, and engineers, musicians, and coders. For the full schedule of Moogfest art installations visit here.

The art experiences are one of the many highlights of Moogfest 2016, which celebrates the legacy of Bob Moog, the visionary engineer who pioneered the analog synthesizer and other technology tools used by artists like Stevie Wonder, David Bowie, and Kraftwerk. The four-day festival from May 19-22 will feature over 250 innovators in music, art, and technology -- from Gary Numan, GZA, Grimes and Laurie Anderson to virtual reality pioneer Jaron Lanier and transhumanist visionary Dr. Martine Rothblatt. For the first time, Moogfest will take place in Durham, North Carolina, a fast-growing capital of technology, culture and entrepreneurship.

The 10 Must-Experience Art Installations at Moogfest are:

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Tone Science Module No​.​2 Elements and Particles (DiN​:​TS02)

"Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

DiN was initially set up in 1999 by well known UK synthesist Ian Boddy to bridge the gap between the analogue music of his heritage and the emerging digital possibilities of the future. This label has always forged its own independent path and to date has released 56 physical CD albums as well as 21 download only releases.

Even after being involved in music since the late 1970’s Boddy has continued to explore new sonic territories and in 2016 he released what was probably his most experimental album in “Tone Science” (DiN48). This album comprised five long, slowly evolving self playing compositions realised entirely on his vast arsenal of modular synthesisers. Boddy’s love of the analogue sound has been well documented not only through his own releases but many sound and sample libraries. These instruments all but disappeared in the 1990’s but recent years has seen an unprecedented growth in interest in this form of synthesiser with a proliferation of both module manufacturers and performers using these highly flexible and personal systems.

Thus, inspired by his “Tone Science” release, Boddy has set up this sub-label to feature artists and performers working in the field of modular synthesis. The first release “Module No.1 Structure and Forces” was released in March 2018 and has garnered a lot of critical acclaim. This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

“Tone Science Module No.2 Elements and Particles” continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.
credits
releases October 19, 2018

1. Todd Barton Floating World 8:41
This is an exploration of layering various timbres and textures, each having its own
diverse panning structure and speed. Performed on a Buchla Music Easel with a
TC Electronic Ditto x4 looper and TC T2 reverb.
toddbarton.com

2. Bluetech Magnetic Lullaby 6:36
Multitracked sequencers in long takes at different clock speeds to get a fractal layer of shifting melodies evolving at different rates with Strymon modulation at different times for complexity.
bluetechonline.com

3. Parallel Worlds Additive Procedure 5:56
Eurorack, Analogue Systems and Serge modular systems, using harmonics created via waveshaping/wavefolding & the Verbos Harmonic Oscillator & RS370/375 Polyphonic Harmonic Generator.
parallel-worlds-music.com

4. Paul Nagle Euneirophrenia 7:52
The peaceful state of mind after a pleasant dream. In this mellow polymetric excursion, Cirklon's CVIO juggles a Quadnic, NW1, Plonk, Rings and Plaits.
bogusfocus.com/pn/

5. Dave Bessell Overtone 6:37
Between two worlds, the technical and the theatre of the imagination, the apparently real and the obviously synthetic play hide and seek with your perception. Realised with an all analogue signal path, this is a study in waveguide physical modelling.
sites.google.com/site/davebessellmusic/home\

6. Richard Quirk Radar Hill 7:22
This track is taken from an ongoing collection of music based on abandoned radar stations. Created with an AJH Eurorack system along with a Voltage Multistage, Bark filter, Magneto delay, Radiomusic and a tube Echoplex.
richardquirkmusic.bandcamp.com

7. Hainbach Your Strange Glitter 5:02
Aiming for purity I focused entirely on the Ciat-Lonbarde Plumbutter, Sidrax and Cocoquantus. I wanted this piece to feel like “synthesizer music”, clear and shimmering, yet alien, not rooted in a real acoustic space.
hainbachmusik.com

8. Nathan Moody Prophet And Loss 5:02
This piece was created using a Buchla modular synthesizer (200 & 100 series modules) as a meditation on the false piety of tyrannical populists in the early 21st Century.
nathanmoody.bandcamp.com

9. r beny Marine Layer 7:02
Fog conjuring with Mutable Instruments Rings loops being processed by Orthogonal Devices ER-301, Mannequins Three Sisters, and Strymon Magneto.
rbeny.bandcamp.com


Total Time 60:24
license
all rights reserved"

Follow-up to:
Tone Science Module No.2 Elements and Particles Demo Mix
Todd Barton Autumn Tour & New Release

Aodyo Instruments Anyma Phi: Version 1.0 Sneak Peek

video upload by Aodyo Instruments

"This trailer shows some of the new features of the upcoming version 1.0 update for the Anyma Phi, the physical modelling synthesizer by Aodyo Instruments. Among the new features, you will find: drum trigger and timbre follower modulators, tools for paraphonic patches, granular processor, three exciters, snare drum resonator, internal arpeggiator, MIDI clock sync, microtuning support with onboard editor, patch randomizer, and much more.

Read more about the new features and download the public beta here: https://community.aodyo.com/topic/114... [captured below]

Anyma Phi blends the classic ingredients of electronic music, like oscillators and filters, with physical modeling technology, allowing it to simulate acoustic sound sources, such as strings or reeds, as well as resonating structures, like wood, glass, or metal."

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eowave Releases Capsule TITAN

"Eowave crew is proud to announce the release of the Spatiolab Capsule TITAN, also available in individual modules. Because Titan has a thick atmosphere able to carry sound waves, the moon is a noisy place…

For a long time, we’ve imagined the music of the space to be a sweet song of gods, crystalline magical sounds. And we thought that the space was a silent place, cold and empty. Since 2004, the Cassini-Huygens mission has recorded some sounds of the space, different from everything we’d imagined before, shock of particles launched in the space at a prodigious speed, a deep chaos, unexpected, which the ESA/NASA has sometimes called « alien sounds »… The Cassini-Huygens mission started the exploration of Titan in 2007.

Since 2000, Eowave designs instruments for electronic music. The Titan Capsule is a fascinating and immersive experimentation mixing space mysteries and music. It will make you explore sound dimensions that are still unknown.

Titan has a very thick atmosphere able to carry sound waves. With the Capsule TITAN, we’ll get onboard to explore how the sound goes across Titan orange thick atmosphere. In a way, the Capsule Titan is a simulation station able to reproduce the journey of the sound waves crossing Titan’s atmosphere and offer the possibility to modulate parameters like the thickness of the haze, the ionisation of the magnetosphere, Titan’s magnetic glow, or low frequency zones.

The Capsule Titan is a station composed of 7 modules:

- 2 TITAN discrete oscillators
- 1 MAGNETOSPHERE: 24 dB discrete filter
- 1 SOMMATEUR – ATTENUATEUR: mixer
- 1 A. D. discrete amp
- 1 RAYONNEMENT envelope
-1 ZONE B.F. : 2 x LFOs
- MIDI interface

The Capsule Titan comes in a ½ rack format aluminium case with French oak from Morvan, with MIDI interface, European PSU, and 10 eowave patch cables.

Price : 699 euros incl VAT / 549 euros (without case, no MIDI interface, no patch cables, no PSU)
Each modules are also available for resale separately.

More information on www.eowave.com"

You'll find some videos of eowave's Capsule Titan previously posted here.

Introducing GRFX – Granular Effects | Granular Audio Plugin by Imaginando

video upload by Imaginando



Imaginando Launches GRFX – Granular Effects: Turn One Sound Into a Universe

7th April 2025 – Braga, Portugal – Imaginando is proud to announce the release of GRFX – Granular Effects, a powerful new audio plugin designed to radically transform sound through the magic of granulation. GRFX takes granular processing to new creative heights—offering a flexible, expressive, and highly playable environment for sound design, experimentation, and exploration.

With GRFX, users can break down ordinary audio into micro-particles and rebuild it into evolving pads and drones, glitchy rhythms, ethereal textures, or alien soundscapes. Whether sparse or dense, shimmering or chaotic, GRFX is your sandbox for bending reality—layering, modulating, and shaping sound through time and space.

At the heart of GRFX is the Harmonic Triangle: an interactive, three-point control panel that morphs your sound into chords, arpeggios, and microtonal variations. This unique interface invites exploration and 'happy accidents,' especially when combined with the plugin’s four cross-modulatable LFOs.

Modulation is made effortless with drag-and-drop routing, instant amount control, and a global

Modulation Panel. A probability-based routing system lets users direct grains to the two

multi-effect engines, the Mixer, and dedicated Delay and Reverb sends—each with independent routing for rich, layered sonic results.

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