An Interview with ERRORINSTRUMENTS' Paul Tas & New Product Announcements

The following is a fascinating look at the man behind ERRORINSTRUMENTS, Paul Tas. Note the questions are not mine, but were sent in with the full interview by inmar lsbtv grtz sleep good.

So how did all start? What was your life before "error instruments"?

- my life before error instruments can be described as a life of an artist in making sculptures and paintings. I was making sculptures from robots, called "the beeb" collection. It is a wooden robot with the concept that in the 50's, we have thought that robots will replace our jobs. However, with the influence of the media, and the medicines we take against emotions, figuratively we can say that we are the robot, and we get programmed by commercials and news. This robot has been a big succes due to the fact that it has been bought by numerous art collectors from different countries such as Japan and the United States. Furthermore, the collections had been sold also at auctions houses Christie's. Later on, I have started to work more in fashion and art and making moveable sculptures with electronics, I made also a traditional Dutch blue sculptures, big horse heads with the intention of giving a controversial thoughts and ideas. Moreover, sculptures about religion, which was a mix between Jesus and the corporate companies in the world with the meaning behind it, that they use the same propaganda to control people's mindset. I was also threatened by religious groups from Germany and Belgium during the time of exposition, not only me, but also the other people in the gallery. This situation has got to a point where i had to go to the court, but in the end I was free to go. Later i have done a project for Damian Hurst and made some installations together with BitMove for the "Love of God" exposition in the "RijksMuseum Amsterdam". As a result, more and more technical and electrical equipments got involved.

When did you have the idea for error instruments and what did the first steps look like?

- First of all, it is important that you know that as a child, i was not able to read, thus it was difficult to go to a normal school, and i have attended a special school, which allowed me to use my creativity, furthermore my writing was always full of mistakes and because in the 80's we used "Commodore 64", and every time i was writing something, a text appeared " Syntax ERROR". Therefore, the kids at my school, gave a nickname to me , called "Error". As a result, i got a fascination about the things that go wrong with machines, such as glitches or accidentally algoritmes and of course the sound of noises. By exploring the art of circuit bending and hardware hacking, i have found out that many people miss this, because the commercial products were created as a mainstream products, with a result for mainstream music. Thus, with the money that i have earned from art, I have started the shop, "ERROR INSTRUMENTS".

Do you have artistic projects beside error instruments?

- Yes, I perform under the name "ERROR EMPIRE", on several festivals. I have also some conceptional sound projects, called "Pink data". The idea of "Pink Data" is that is not controlled by humans, thus all the music is created by accidental algoritmes. I also make sculptures, with acoustic and electronic purposes. Furthermore, I am busy working on the modelar synthesizer and exploring control voltage. design eurorack modules for and special audience

What is the error philosophy?

CLICK FOR MORE »

Native Instruments announces KOMPLETE KONTROL S-Series keyboards

The Komplete instrument – introducing Komplete Kontrol S-Series keyboards

Published on Sep 2, 2014 Native Instruments

"Berlin, September 2, 2014 – Native Instruments today announced the KOMPLETE KONTROL S-Series keyboards. The keyboards represent a hallmark in the history of Native Instruments, providing advanced innovations in hardware/software integration and uniting the KOMPLETE Instrument portfolio under one purpose-built keyboard controller and software interface. KOMPLETE KONTROL S-Series keyboards are available in a choice of 25, 49 or 61 keys and come equipped with premium Fatar keybeds for a luxurious playing experience. They will be available online and at retailers worldwide October 1, 2014.

Daniel Haver, CEO of Native Instruments, comments: “In the last two decades our software instruments have shaped and defined diverse musical styles and genres. The KOMPLETE KONTROL S-Series keyboards finally bring our original vision to life, and elevate the experience of sounds to a whole new level. Only now the diversity of all KOMPLETE instruments and sounds becomes truly accessible in a single instrument, in ways that no controller or keyboard ever did before.”

The KOMPLETE KONTROL S-Series keyboards signal a new era of control for the KOMPLETE Instrument portfolio. The all-new KOMPLETE Browser™ unifies the powerful instruments in KOMPLETE, delivering tag-based access to all KOMPLETE Instrument presets from one plug-in interface. Instead of browsing by instrument, users can now search by sound, opening the breadth of the KOMPLETE Instrument range faster and easier than ever before.

Native Map™ technology automatically maps all key parameters for each KOMPLETE Instrument to the touch-sensitive controller knobs – all clearly visible on the keyboards’ Clear View™ display. Each instrument was carefully mapped by NI sound designers to arrange the most relevant parameters on pages laid out on the keyboard’s display. The need for complicated mapping is eliminated, bringing producers closer to the act of creating music and allowing them to stay in the creative flow.

A first-of-its-kind Light Guide™ shows key switches, zones, and more on multi-color LEDs positioned just above the keys. For example, key switches for KONTAKT Instruments such as ACTION STRIKES are illuminated in one color, while keys used for performance are lit with another. This puts the instrument’s layout on the keyboard at a glance without having to look at the software. The lights also provide performance feedback – scales, chords, and arpeggios light up across the keyboard as they are played.

KOMPLETE KONTROL S-Series keyboards also deliver Smart Play™ features to accelerate workflow and stimulate new ideas. Chord mode lets producers play complex chords with single keys. Chord Set mode provides ready-to-play progressions that can inspire and augment original compositions or add new flavor to remixes. The integrated scale mapping features deliver fast access to new melodic possibilities – notes of the currently selected scale light up on the Light Guide. Many widely-used musical scales can also be mapped to the white keys. ‘Wrong’ notes can be automatically re-mapped so melodies are always in tune. The arpeggiator works seamlessly with every KOMPLETE Instrument. And the eight controller knobs manage parameters such as direction, rate, rhythm, patterns, and variations.

Furthermore, two touch-sensitive Touch Kontrols™ tap into a new paradigm in software instrument control. They can mimic the behavior of pitch and mod wheels, and physical objects like springs and bouncing balls for interesting modulation curves – far beyond the capabilities of conventional mod wheels. Keyboard functionality such as key splits and Touch Kontrol behavior also function when using the keyboards as a standard MIDI controller, opening these control innovations to instruments outside the KOMPLETE universe.

KOMPLETE KONTROL S-Series keyboards were designed to integrate seamlessly with the 10th generation of NI’s acclaimed instruments and effects suites, released October 1st, 2014. Registered users of KOMPLETE 9 and KOMPLETE 9 ULTIMATE will receive a free download for the KOMPLETE KONTROL software, giving them the same functionality on KOMPLETE KONTROL S-Series keyboards as KOMPLETE 10 and KOMPLETE 10 ULTIMATE users.

KOMPLETE KONTROL S-Series keyboards are available online and in retailers October 1, 2014. Preorder is also available.

KOMPLETE KONTROL S25 is available for $499 / 499 €. KOMPLETE KONTROL S49 is available for $599 / 599 €. KOMPLETE KONTROL S61 is available for $699 / 699 €.

Additional information on the new KOMPLETE KONTROL S-Series is available at:
www.the-komplete-instrument.com"

Elhardt on Synthesis

Elhardt. Some of you may recognize the name. For those of you that do, it might conjure up a number of reactions, some good some bad. : ) He has been the source of a number of controversies and one grand spectacle in the synth world - the Bahn Sage. The Bahn Sage was probably the biggest synth spoof ever. I remember spending weeks with others trying to find more on this mystery synth. A photo showed up on the net and it quickly spread, followed by more, and finally a brochure that had people whipping out their Photoshop skills to analyze in detail. In the end it was a fake; a brilliant hoax.

Now Elhardt has be showcasing his amazing programming skills by conjuring up some of the most realistic acoustic examples of real life instruments with an Alesis ION, Andromeda A6, and MOTM modular. Is it real or is it another hoax like the Sage? Who knows. I'm inclined to believe these samples are real given the attention to detail with the Bahn Sage, and replications of real world instruments by synthesists such as Wendy Carlos in the past, but you never know, do you. His samples are pretty awe inspiring (check out the links to some of my previous posts below for some examples, specifically the realistic drum set).

Another controversial perspective on synthesis from Elhardt? Knobs are not performance controllers. They are used to edit and create sounds. That's it. If you want to control sounds while playing, use the dedicated performance controllers on the synth like the mod wheels and keyboard. : ) I like to play outside of the box myself. Regardless I am impressed by Elhardt, and I do appreciate his dedication to synthesis.

Recently Elhardt sent an email to AH on his perspective on synthesis. I asked him if it would be ok for me to post it and he said yes. Enjoy. Or not. : )

Elhardt on Synthesis:

"Following are all the reasons I like to do realistic emulations of reality.

1) There is nothing interesting about playing samples. Everbody is doing that. Buy a $200 Casio and it does it. The skill of synthesis is completely missing. An artist paints a landscape, he doesn't just snap a photo of it. Sample libraries make everybody sound the same. If everybody synthesized their own acoustic sounds, everybody would have a different style.

2) Sample libraries are so insanely huge and can't even be fully used in real-time. I'd have to spend weeks sifting through 35 Gig of string samples and articulations and go through days of intense sequencer/midi programming to get them to play in a realistic manner. I'd have to use them from a computer with bug-ridden software. Major sample libraries are never complete, and constant updates suck money from you for the rest of your life. It's all going in the wrong direction.

3) I want instruments that play like physically modeled instruments. I just call up one patch and play it expressively in real-time. Simple. I also want to do instruments I can't buy samples of, or create brandnew instruments never heard before.

4) BTW, I have a lot of sample libraries, and some of the instruments suck, sometimes it's just a few notes that suck, sometimes the attacks are too slow and they can't be played fast, there are mistakes made (like clicking noises in garritans trombones, or a mono sample within stereo samples and so on), there's the repetative nature of hearing the sample recording played everytime the note is played, and so on.

5) Synthesis died in the 80's, before anybody ever pushed it to its limits. That is unsatisfying to me. When I first heard Tomita, I thought he was synthesizing virtually everything. Through the years, I found out he was using real instruments, mellotrons, and other acoustic methods in places. I want to do what he didn't. When I do a CD, I want to say I created all those sounds. As synthesists, aren't we supposed to show those snobby acoustic musicians we don't need them or their sounds?

6) Acoustic sounds are complex and hard to synthesize. It demonstrates extreme skill, knowledge of sound, and totoal control over a synthesizer to accomplish the advanced and difficult programming to acheive some of those sounds. It requires coming up with new techniques and tricks which are challenging and have never been done before. We've been hearing awful string patches, corny brass patches, cheesy drum patches for decades now. I want to push subtractive synthesis to its limits to see what it can really do, even if it were for no other reason than to say, "see", it really can be done.

7) Doing spacey synth pads and sequenced bass lines and that stuff is all nice and good, and I create many patches like those myself. But those things are relatively easy to accomplish. They don't force you into extreme patches of a 100 modules or into using a 42 band filter bank and spending weeks to acheive something nobody else can seem to do. You can't do this stuff on a Minimoog or OB-8. So as Matthew pointed out, it's mostly unexplored terrain. And doing something for the first time is more motivating to me than doing things already done.

BTW, my latest Nord violin I believe sounds better than the Synful one over certain ranges of notes. After I make two more passes through the 42 band filter bank refining it, I think I may have a better sounding violin over the entire range. Though it still won't play as smoothy. I'm also back to working on my additive string synth for the winter. The one I started working on before Synful hit the market and took some of the wind out of my sail."

Some previous posts on Elhardt:

http://matrixsynth.blogspot.com/2005/08/bahn-sage.html
http://matrixsynth.blogspot.com/2005/12/alesis-ion-ralistic-drum-kit.html
http://matrixsynth.blogspot.com/2005/11/alesis-ion-demos-by-kenneth-elhardt.html
http://matrixsynth.blogspot.com/2005/11/alesis-andromeda-a6-and-motm-demos-by.html
http://matrixsynth.blogspot.com/2005/11/alesis-andromeda-a6-samples-by-kenneth.html

MIDI Messenger by Wrong Instruments

video uploads by Wrong Instruments

MIDI Messenger is free, but they do accept donations. Details follow:

"This plugin came to life as an answer to the lack of utilitarian MIDI processors and DAW functionality on iOS/iPadOS. Not being able to easily send Program Changes (even that!) didn't feel right when I was trying to prepare my new live set with my iPad being the control center of the rig.

It allows creating lists of ‘messages’ that will be sent after being triggered by incoming MIDI messages or system events.

In the newest version we added expression and advanced trigger filtering, so now you can do some really crazy, almost generative stuff."

You can find the latest version here: https://go.wrong.band/dl-mm-appstore

The playlist above covers the following three versions:

1. MIDI Messenger v1 basics tutorial

"In this tutorial we cover some basic stuff sending Program Changes from MIDI Messenger loaded in AUM to Empress ZOIA and Red Panda Particle via CME WIDI module as an example."

2. MIDI Messenger — v2 overview

Here's new MIDI Messenger v2!

00:00 Intro
00:05 Big thing #1: values from triggers
00:19 Note On/Off example
00:31 CC example
00:47 Big thing #2: exporting/importing presets
01:00 Minor updates
01:04 New trigger: Program Change
01:08 Passthrough for Transport triggers
01:11 Manual 'Send' trigger/button
01:21 New events at the top of the Log
01:23 Log 'Clear' button
01:27 Responsive UI
01:32 Highlighted selection in long menus
01:39 Outro

3. MIDI Messenger — v3 overview

"The main two new features are expressions and multiple messages per single trigger. Generative workflows FTW! Improved triggers: you can select multiple channels, and values with the support for ranges and single values. Small neat things: bypassing messages, humanised log with hex/dec modes, and... in-app donations — no need for Patreon account if you want to support us!"

Music: "Sunrise" on Korg EMX

YouTube via AlchemistShaman.

"http://Alchemy-Illuminated.com

This is a meditative trance song I made on the Korg Electribe MX. The video is extremely boring, but I'll be updating it later. The song could use a little more work, but I always get bored and move on to the next one.

I uploaded the wrong version of this song to my website, and I lost the original when my hard drive crashed, but now I found it again hiding on my website server, so now you can download it for free, and it sounds much better in full quality because the sounds move from one ear to the other:

http://Alchemy-Illuminated.com/Docume...

All of the sound effects are diminished since YouTube reformats the video to have mono sound instead of left and right stereo, and I uploaded this video before I knew how to bypass that and keep high quality stereo.

And for those people who don't know -- the EMX is a synthesizer and every note and sound you hear in this video had to be made and recorded by me. None of these are presets or samples -- the video only shows me turning on the drum parts and the phrases, but before hand I had to actually play the music on the EMX and record it and program the drum parts. So it takes a lot of work and talent. All you people who play the keyboard synthesizers and say we EMX mixers ain't making music are wrong! We make music just like you do, but it's even more complicated! And even though the EMX allows you to load pre-made MIDI maps, most of us don't cheat and we play our own music and make our own MIDI maps from scratch.

99% of the electronic/techno music you hear these days is most likely made from preset MIDI maps, and the "musician" or Dj is basically a *fake*.

I'll have a tutorial video posted eventually which shows how to make a song from scratch for people who just bought the EMX. That will show you how complex programming this box actually is. But it does become very easy once you get accustomed to the controls, and very addictive. Yet there are so many ways to shape the sounds of the instruments, I tend to get lost for hours just playing around with the enormous universe of sounds.

Download the manual for the EMX to see everything it can do:

http://alchemy-illuminated.com/Docume..."

Music: "Elixir" on Korg EMX


"Another trance/meditative song I made on the Korg EMX.

You can download it at my website (sounds much better)
http://Alchemy-Illuminated.com

And you can download the free book on making the elixir:
http://alchemy-illuminated.com/docume..."

song "Elixir" - breakdown of instruments used


"I made this video in response to all the people who have a Korg EMX, and were wondering how I made this song without using anything but the EMX (no external instruments or computer software synths).

The video shows me turning on each instrument, and then I show the screen on the EMX so you can see exactly which instrument it is. I didn't show which effects I applied to the instruments, or how I played the tune to make the pattern for each one, because that would have taken way too long.

Basically this video just breaks the song down into it's parts, so you can better understand how each instrument sounds without all the others running at the same time. A lot of the instruments have a reverb effect applied, especially the drum parts. And I changed the pitch on most of the drum parts to make them sound much different then they do by default.

You may notice at the beginning of the video when I'm trying to show the names of the different instruments used in the synth parts section, I don't change the selection properly so the first 3 instruments have the same name. But later on as I go through all the synth parts again, you can see what each one is named and which number it is on the EMX.

And for those people who have never used an EMX synthesizer, I must stress that none of these patterns are presets. So each time you see me select an instrument part and you hear it playing by itself, that isn't a preset pattern. I had to first adjust the sound of the instrument to make it a completely new instrument, then play the music on the keyboard to make the pattern itself, then adjust the way the notes sound as the pattern progresses. When I eventually have a tutorial video showing a song from start to finish you will be able to fully appreciate the amount of programming that goes into making a single song on the EMX. And at first it's very bewildering and you think it will be impossible to remember how to do all the steps it takes just to make one pattern, but after using it for a while, you remember everything and can quickly move through the process of creating a song with ease.

When you complete a song using this synthesizer, it's very satisfying because you made it 100% from scratch. Most of the dance/electronica music you hear on the radio or TV is made using preset patterns, pre-made samples, and pre-made MIDI maps for the instruments and all the "artist" does is select which patterns and melodies he likes for his song, and some of them don't even play the keyboard at all; they just put together pieces of someone else's work, and then call it their own. All their friends and family think they're so talented in making music, but in reality they would be nothing without their pre-made patterns and samples made by real musicians.

And unfortunately since this Korg Electribe synthesizer does come loaded with pre-made patterns to demonstrate it's full range of capabilities, some people on Youtube actually use those patterns and tweak the sound just a little bit, then claim the song as their own. In the back of the manual that comes with the EMX, there is a full list of all the preset pattern songs, with full credit given to each professional musician who composed those pieces of music. And those people's names should be placed right there in the video description whenever some wanna-be Dj uploads a video of himself using their pre-made patterns and calling it his own. But this is youtube, and it's full of jackasses.

Download the song from my website (it sounds much better):
http://Alchemy-Illuminated.com"

Inside the EMX


"Ever wonder what your EMX looks like on the inside? In this video I actually open the EMX and take a look around. I was hoping to upgrade it with the Studio Essentials ROM board they show on the Korg website as an accessory for the Korg."

Mutable Instruments to Ramp Down DIY

via Mutable Instruments

"Please take the time to read this...

After careful considerations, I have decided to progressively ramp down the production of most of Mutable Instruments’ DIY line.

=== The reasons ===
* Some of these products are getting old and/or are not as successful as I thought they would be, and it doesn’t make much sense to keep them in inventory when only a couple units are sold in a month - while their price has been decided at a time they were produced in batches of 100s.
* There’s little overlap in the way Mutable Instruments’ as a maker of modules, and Mutable Instruments’ as a maker of DIY kits operate; to the point that it really feels like I’m running two companies; dealing with two groups of suppliers, two ways of managing accounting or keeping track of stock etc. Some decisions related to growth (small things like formalizing procedures through software, or big things like relocating or hiring…) can’t really be done in a way that would serve both missions. I have reached a size at which a choice must be made, and the ratio of things I like to do / annoyances is higher when it comes to the kit business.
* I no longer agree with some of the design decisions (be they aesthetic or technical) defining these products. It just feels wrong to me to sell products I would not personally buy.
* I’d like to explore a few (non-music and/or non-electronics and/or non-DIY) projects and I badly need to make room in my life for that.

=== The consequences ===
I do not plan to produce new batches of the following products:
* MIDIpal. There are currently 55 units left in stock. I’m keeping a small stash to serve warranty requests. As time passes, I’ll get rid of them (without warranty).
* Shruthi XT kits. There are currently about 50 kits left in stock.
* Anushri (as a kit and as a PCB set). There are currently about 100 kits left in stock. I only have 40 Euro panel sets, so I might do a small run of them to prevent the last kits from being sold naked.
* Shruthi filter boards. I have in stock (or on order for the Polivoks and Yellow magic) about 50 pairs of filter boards. The digital filter board is already out of production.
* Ambika (as a kit and as bare PCBs). I currently have 50 kits being sorted, which will be available as a bundle with Adrian’s case in november or early december. I still have a big stash of PCBs – so this one will take more time to disappear.

I do plan to produce new batches of the following products:
* Shruthi kit. There’s really nothing quite like this little beast. I might narrow it down to one or two flavors (like vanilla = kit+plexi case and vanilla-caramel-choco-chips-cookie-dough = 4PM kit + metal case).
The fate of the following products is unknown:
* CVpal.
* Module tester.

=== And after that? ===
Some of you might want to organize small community-runs of PCBs to keep one of these products alive – just as it has been done for the Sidekick. I’m fine with that, but obviously I won’t provide any support.

Keeping the DIY line alive through a commercial initiative is something that requires more thought. If this happens, and I am currently exploring several paths for this to happen, this has to be done in a way that does not involve the Mutable Instruments name, or only as a sort of quote or tribute."

Dave Smith Instruments "TETRA" Synthesizer Review Pt. 1

YouTube via djthomaswhite
"Here is my two part review of the new Tetra Synthesizer by Dave Smith Instruments. This is intended as an overview of the sounds and features of the synthesizer, with a small narrative about the over complex expectations of today's synthesizer enthusiasts that sometimes push the fringe of synthesizer elitists. Treat it like an editorial, take it or leave it. I love this powerful little synthesizer and have had more time to play with it since making this video footage last week. I hope you enjoy the sounds, and at $800 for a 4 voice true analog synth, you can't go wrong. Want more knobs? Use the editor and one of your multiple MIDI controllers.

Thanks for stopping by! Check out www.davesmithinstruments.com for more information on the Tetra and the other Dave Smith instruments."

Dave Smith Instruments "TETRA" Synthesizer Review Pt. 2


Tetra prices on Ebay

QuNeo "Enhanced Note Mode" Performance Video

Published on Jun 12, 2013

"QuNeo Enhanced Note Mode Software lets you play in tune whenever you play QuNeo. Download the Max For Live Device and Standalone Version here:
http://www.keithmcmillen.com/QuNeo/do..."

QuNeos on eBay

Update: and the press release:

"Limitless Fun with QuNeo's Enhanced Note Mode!
Now available as a free standalone app or Max for Live device

BERKELEY, California – June 13, 2013 – Keith McMillen Instruments, developer of the most expressive instruments for making music with computers, announced today its Enhanced Note Mode for QuNeo 3D Multi-touch Pad Controller.

Take your QuNeo performance to the next level
QuNeo's new Enhanced Note Mode maps QuNeo's pads to the notes of nine musical scales, while setting the tonic to any of 12 notes. Players can select any of the scales and then jam away without worrying about hitting a wrong note. The scales included in Enhanced Note Mode are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian, as well as Major Pentatonic and Minor Pentatonic.

Harmonizer
Enhanced Note Mode includes a powerful harmonizer that can add complimentary pitches to each note being played. The timing of the additional harmonizer pitches can be offset to create a rhythmically compelling cascade of notes.

Adding Pitches: QuNeo's far left vertical slider controls the number of additional pitches added to a note. As the value of the slider increases, pitches are layered upon the original note–one octave below, one fifth above, one octave above, and two octaves above.

Offset: QuNeo's second vertical slider offsets the additional harmonizing pitches in time. As the value of the slider increases, the offset time grows from simultaneous to as much as a quarter note.

Pitch Bend
In Enhanced Note Mode, each pad can produce independent vibrato or deep pitch bends at the touch of a finger. Pitch bend sensitivity can be adjusted to suit the player's preference.

LED Feedback
QuNeo's multi-colored LEDs give players guidance in navigating the notes of the different scales. Keys that are illuminated in green are the root notes of the scale. Keys illuminated in orange correspond to the 2nd, 4th, and 6th notes of the scale. Keys illuminated in red are the 3rd, 5th, and 7th notes of the scale.

Octave Switching
QuNeo's arrow buttons in the lower right corner can shift the register up or down within a nine octave range.

Enhanced Note Mode can be downloaded for free as a Max for Live* device, an editable Max patch, or as a standalone application for Mac OS and Windows. Use it in series with any synthesizer or DAW application.

*To use the Max for Live version of Enhanced Note Mode, you must have either Ableton Live 8 Suite or Ableton Live 9 Suite installed on your computer. Additionally, you must have a version of Cycling '74's Max 5 (Suite 8) or Max 6.1.2 (Suite 9).

About Keith McMillen Instruments
Keith McMillen Instruments develops innovative hardware and software technologies that allow musicians to interface with computers in exciting new ways. Based in Berkeley, California, KMI's products provide today's modern musician with the tools needed to bring new dimensions of expression and control to their performances. We believe when a computer is played as a musical instrument it should feel and respond like one, with all the nuance and sensitivity that makes an instrument musical."

Roger Linn Design - New Musical Instrument Prototype

YouTube via rogerlinndesign — May 14, 2010 — "Roger Linn Design - New Musical Instrument Prototype"

Update: more info via http://www.rogerlinndesign.com/products/linnstrument/index.html. Capturing a good amount for the archives. Be sure to check out the link for more.

"This design uses a fingerboard grid consisting of 6 rows of 24 semitones each, similar to a guitar. It also has two thumb control strips, one on each side of the fingerboard, to be used for sustaining fingered notes after release, strumming, bowing, blowing or restriking, and also has a wind sensor for added expression. (Ignore the 4 long, thin bars on each side; they were to be used as separate palm-actuated sustain bars, but I've decided that the two thumb strips work better for this.) This design is intended to be played from either of two positions:

1) On a table, with both hands playing from one side and using only one thumb control strip for both thumbs. Because note expression is controlled by subtle changes in finger pressure, the table provides the necessary resistance to that pressure.

2) On your chest vertically, with one hand playing from each side of the instrument. In this case, the left thumb control strip is used by the left thumb and the right thumb control strip is used by the right thumb. Because note expression is controlled by subtle changes in finger pressure, your body provides the necessary resistance to that pressure. This position conveniently places the wind sensor close to the mouth.

In an effort to continue my silly tradition of product titles containing my last name, I think I might call this "LinnStrument". :)

Why do I like this design?

* It is able to sense independent and simultaneous x (pitch), y (timbre) and z/pressure (expression) data from each finger within each cell of the note grid. This permits independent control of the pitch/timbre/expression envelopes of each note in real time as you play, and a very high degree of solo expression without sacrificing polyphony and therefore the ability to produce both chords and highly expressive solos at the same time.

* It uses a fingerboard note layout that borrows from the two most popular traditional instruments-- guitar and piano. Like a guitar, it uses parallel rows of semitones offset by fourths. (A guitar has the odd third inverval between the G and B strings.) Like a piano, the notes increment chromatically as you move up the fingerboard, but instead of one long horizontal keyboard, the notes are arranged as a grid with rows of consecutive semitones offset by fourths. This offset of a fourth is optimal for the size of the human hand because it requires stretching left or right only 2 semitones up or down (on adjacent rows) in order to achieve any interval up to a 5th. This is perhaps one reason why the guitar is so popular. By the way, the idea of chromatic rows offset by fourths isn't my idea; more than a few jazz guitarists use fourths tuning (E-A-D-G-C-F) and Starr Labs makes a very interesting keyboard with this same layout called the Z Board.

* Because the offset between rows of semitones is always a musical fourth interval, you can use the same fingerings for chords or scales regardless of key, which is much easier to learn and transpose. Contrast this with a piano, which requires a different chord fingering for each of 12 keys; or a guitar, which because of the odd 3rd interval between the G and B strings, requires 3 different fingerings for a given chord depending on which strings you use. Of course, this instrument design is software reconfigurable so you can tune it like a guitar if you prefer.

* It permits sliding the pitch from one note to another (like a violin) but quantizes initial finger contact to semitones (like a guitar's frets). This gives you the best of both worlds, thereby eliminating the suffering of thousands of beginning violin students (and their parents).

* Because the note layout is a compact grid, you can see everything you're playing without changing your view. Contrast this with a piano, which requires that you frequently alternate your view between your left and right hands because of the distance between. Also, the compact grid layout has the advantage of being able to finger a chord in one hand that spans up to 4 or more octaves. Contrast this with a piano, which has a maximum pitch range for a one-hand chord of about a musical tenth interval.

* While the primary mode of playing requires only a single finger for each note, 2 long pressure- and position-sensitive thumb strips (one on either side of the fingerboard) permit you to use your thumbs either as sustain bars (to hold the fingered notes after release) or as excitation strips to strum (arpeggiate), bow, blow, pick or restrike (depending on the sound being synthesized) the fingered notes, useful for reproducing the sounds of traditional instruments.

* It completely abandons any remnants of mechanical age instruments in favor of electro-mechanical input sensors with independent sound synthesis. This has the advantages of using a single playing interface independent of the instrument sound, being able to change the fingerboard properties by software, is lightweight and portable, is inexpensive and easily manufactureable, and never goes out of tune.


Why am I showing this before it's done?

I came up with this design in 2006 and development has been slow because my small company has limited resources to develop such a complex product. (Any interested investors?) Also, there aren't many musicians who see anything wrong with current instruments, so not too many people would buy it anyway. A key expense is in developing a multi-touch, pressure-sensitive, high-resolution, fast-response, low cost touch surface technology.

Then in 2009, a new company called TouchCo introduced a technology for a multi-touch, pressure-sensitive, high-resolution input surface that's also very low cost, quoting $10 per square foot in high volume. In fact, I'm using one of their technology evaluation units for the input surface in the video above. Unfortunately, Amazon bought them in January 2010 in order to add touchscreen technology to Kindle, then immediately shut them down and took their product off the market.

Alas, until someone else comes up with a similar touch technology or Amazon decides to make the TouchCo technology available, development of our product will be limited to refining our Max/MSP patch. One promising new technology we've evaluated is a touchscreen from Stantum (same company as JazzMutant, makers of the Lemur) that senses surface area of your fingers, which is not a bad alternative to sensing pressure because your finger surface area increases as you increase pressure. However, I found that their current resolution wasn't high enough for what I'm trying to do, plus true pressure sensing is better for musical control.

So given this situation, I decided to call this a research project and publish what I've done so far in an effort to get more people interested in and thinking about new musical instruments. Maybe even Jeff Bezos will read this and see that in the grand war between Kindles, iPads and Android tablets, it wouldn't be such a bad thing to permit some sort of controlled usage of the TouchCo technology.

- Roger Linn"

ROLAND TR-8S Demos

Published on Mar 17, 2018 Sunshine Jones

Playlist:

1. ROLAND TR-8S BASIC KIT DEMOS

/////////////////////////////////////////////////
First let me say that there is a lot going on under the hood here on the Roland AIRA TR-8S. There are many kits, and many ways to include sounds, add effects, samples and more.

My general approach is to answer my most fundamental questions - how does it sound, how does it work, can I make use of it, and does it delight me? - before I dig down too deep.
This is a set of clips featuring the most basic kits and effects to let you see and hear what the @rolandaira TR-8S sounds like fundamentally.

1. TR-909
2. TR-808
3. TR-707
4. TR-727
5. TR-606

There is also a TR-626 kit which is great 80's fun, and many more sounds.

Next I'm going to explore adding my own samples and try to apply a sample loop as well.

2. Roland TR-8S Sampling Experiments

////////////////////////////////////////////////////////////
Late into the night last night I explored the idea of importing my own collection of samples into the Roland AIRA TR-8S. Much of the exploration was in headphones and I couldn't wait for the sun to come up so I could listen and document the experiments for us to dig together.

1. A loop of my darling Geraldine Hunt with a -12db filter, accompanied by internal 909 sounds.

2. 100% Roger Linn samples taken by me from my old Linn Drum, sequenced and tuned to make your Camero go faster and match your tri-level nylon jacked.

3. The SP-1200 Congas translated from floppy to WAV files, and loaded into the TR-8S with reverb and a kick added.

I still have some functional questions (like how to assign things like kick attack to the CTRL knob, can one step edit the motion recordings, and other basic stuff...) as well as a real desire for some kind of time/pitch compression and expansion.

Perhaps that could be solved with using slices of a loop, or perhaps the inclusion of a particular file format with beat markers - I don't know - but tempo based samples will not automatically sync. They must be either worked out to a tempo ahead of time, or pitched to be in sync on the TR-8S. However you work it out, one is then working at a fixed tempo (provided pitch is essential) and that can be tricky live. In any given performance I may play at 110 if the audience is forward thinking and with me, but in more ordinary and adverse circumstances I will be forced to play the same material at 122-125 depending on how hostile they are. That's a huge leap in tempo, and getting that perfect on the fly can be tough.

But I'm undaunted, deeply inspired, and I'm going to dig in deeper still and answer my questions and come up with workarounds.

It's only been about a day, but I already just LOVE this thing and can barely remember not having it around.

3. ROLAND TR-8S LOOP SYNCOPATION EXAMPLES

ROLAND TR-8S LOOP SYNCOPATION EXAMPLES
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I talked about the fact that the Roland AIRA TR-8S doesn't have any time compression/expansion for loops, and here are three examples of ways to work with time based loops:

1. PITCH
The whole loop is imported into one instrument and pitch is adjusted to accommodate timing between 105 bpm and 125 bpm
This technique works great as the old school use of loops. Sometimes a loop gets really interesting when you slow it way down, or speed it way up. But for pitch crucial loops this isn't practical at all. For example in a live performance if you really must play faster or slower, this means your looped material will end up being pitched higher or lower, and if it's meant to play with other instruments the whole composition will be out of whack and potentially sound a tonal, or just wrong (or wonderful!)

2. FOUR SLICES (the one-and technique)
The same loop is chopped into 4 parts. Every beat is trimmed (import the sample loop 4 times and edit each one) and then placed on 4 instruments and the beats are programmed in sequence across the grid.
This allows for tempo adjustment between 125 bpm and 117 bpm without adjusting the pitch.

NOTE: It sounds better as you go faster, than it does as you go slower, so it would be best to begin with a slower loop than you need, so that as you increase tempo the timing feels better, and it sounds tighter than if you had to slow way down.

3. EIGHT SLICES
The same loop is cut into 8 parts and placed into 8 instruments. The decay of each slice is cut in half, and the tempo may be adjusted between 105 bpm and 140 bpm without adjusting the pitch one bit.
NOTE: There's no reason we have to use a unique kick and snare for this size of slice, so this could be done with fewer slices, and using up fewer instruments.

TIP:
When using a uniform grid solution, you can do some pretty interesting things. For example - chop up 4 different loops at the same grid (8) and then use program changes to switch between kits for crazy, far out glitch beats, or dynamic pattern changes at random. It's pretty sick.

Conclusion:
It seems there are many ways to accomplish timing without feeling that the device truly needs to import ReCycle files, or contain a time compression/expansion feature. But it does take us away from the device, and ask us to think it through before we get to it.

I grabbed this loop for fun and explored it on the device itself, without going back to the computer or another device for additional editing. It all happened right here in the TR-8S with a single loop. Naturally this would have gone faster, and possibly been a better result if I'd done the editing on the computer, but I am really not taking my inspiration from computers anymore, and want to work with the device I'm working with when I'm working with it. So taking the slow road, and doing it "stupid" style is all right with me, and seems to produce worthy results I can get behind.

Hope this helps with your adventures.

Interview with Mutable Instrument's Olivier Gillet

The following interview is by Juan Vílchez Gómez for Hispasonic. Juan sent it my way via The MATRIXSYNTH Lounge. You can find a Spanish version on Hispasonic here. The following interview is posted here in English with permission from Juan. MATRIXSYNTH gets a mention! Thank you to Juan and Hispasonic!

"Hispasonic: This time we are talking with Olivier Gillet, the man behind Mutable Instruments and creator of the famous synth Shruthi-1. He reveals exciting information about his next projects and throws light upon synth design.

JuanVilchez is the interviewer.

Hispasonic: Well... Taking into account that the key questions about the Shruthi-1 have been already answered in the forums, or in the comprehensive documentation of your webpage, I propose that you could speak us about the future of Mutable Instruments... as it seems that some exciting new machines are in the making right now.

Mutable: The exciting new projects:

Next project (september/october): the MIDIpal, a small, inexpensive, MIDI processing
unit, running algorithmic transformation on the MIDI notes (arpeggiation, harmonization, delays) along with more traditional filter/splitter/monitoring things. Something you'll want to stick between anything with a keyboard and anything with an audio out in your studio :) This is the first project that will be industrially manufactured - though the first batch will be available as a SMT kit.

A revision of the Shruthi-1 hardware for the next batches of kits - in particular I've spent quite some time cutting the part count on the filter board.

A new Shruthi-1 filter board (MS-20 clone).

A variant of the Shruthi-1 digital board that will replace all the digital oscillators by 12-
bits sample playback from a SD card (and will probably do sampling too). This will add a new dimension to the "Shruthi-system" = 3 "controller boards" (Shruthi, Sidekick, Sampler) x 7 "filter boards".

Something that will replace, in the long run, the Shruthi-1 - and in which I'm trying to address most of the shortcomings and design decisions of the Shruthi-1. This is a more ambitious, risky, project as I'm trying to squeeze in a lot of very new features, and design it in such a way that some parts of the project can be interchanged, with both a SMT version for industrial manufacturing and still a through- hole variant for DIYers. While avoiding reinventing too much and keeping it close to the Shruthi sound. Ready in 6 months? 1 year? I don't know.

Least sexy but most important thing: establishing an actual company -- at the moment what I do is registered as a "side-business" and while it is very simple paperwork-wise, it adds many constraints to what I can and cannot do, and exposes me to many risks in case of bankruptcy.

Hispasonic: I think that it could be interesting not only promoting Mutable Instruments but you as well, as I find that you're a really talented guy and that you've the most valuable opinions and tastes. Just saying... I perceive that you're a shy person (am I wrong?), but maybe it could be interesting to know more about "the creator".

Olivier: I wouldn't see the point of promoting myself - I don't sell myself, I sell synths, and they can "speak" or rather "sound" for themselves!
Many interesting synthesizer businesses are small, quite often run by one single person, who has to wear both an engineering and marketing hat. Personally, I try to keep my engineering hat as much as possible because this is what I am good at, and because I quite like the values that goes with engineering. Chips datasheets don't cheat, at least not on the first page... I see too much people overhyping stuff in my daily job to want to do anything like that when I am working on my synth projects.

Hispasonic: In Hispasonic we are really proud of our community of synth enthusiasts. Here is a little "window" that is going to be seen by a lot of people. Taking a look into your resumé, we know that we can confidently trust you in regard to software and electronic musical instruments. So... what do you want to say to them?

Olivier: If there had something I had to say to the synth public is that they should try to keep a critical eye and ear when looking at synths - there are so many misconceptions (that I used to have too, until recently!) about synths. Things like:
- "UIs with LCD displays / pages [as opposed to 'one knob per function'] suck" Most people having used the Shruthi-1 agree that the interface is very easy to understand. The ESQ-1 looks horrible with only one data entry slider but it's surprisingly very fast to program. While some knob-laden VAs are horrible to use because everything not directly in the front panel might be hidden behind half a dozen of keypresses.
- "8-bits => chiptune sounds!"
Just because something uses 8-bit resolution somewhere in the signal chain doesn't make it sound like a Nintendo. It's not all black and white: The Fairlight had 8-bit converters ; the Dark Energy uses a sound chip that found its way in some 80s arcade machines. And plenty of other weird combinations inbetween.
- "Vintage synths got their good sound from the vintage VCF chips"
I was fooled by this too, and this is why I invested time in getting some of those chips and building filters with them. My conclusion is that those chips were very convenient because they concentrated many useful functions in a small area (and thus made reliable, smaller polysynths possible), but there's nothing magical in them - gain cells and linear/exponential voltage->current converters in one small package. I won't bother with those things from the past in new designs, because the magic is outside of the chip.
- "Stuff designed by amateurs will always be one step behind commercial products"
I hang around a few DIY online communities (for example the SDIY mailing list) and I am amazed by the expertise and knowledge of the people here. And then it struck me that to the most talented electrical engineers it would be a weird career move to actually work full-time on synths, because there are many other fun things to do with their skills. Somehow I think the most difficult thing for a trained EE to go into making synths would not be the challenge of the work, but the challenge of only applying a very small fraction of their knowledge of the field.

Hispasonic: There is a growing community of people that decide to take direct control and create their own synths from the electronic parts (DIY). Any advice for them?

Olivier: A last thing, and this takes the form of a question: "what makes a good synth/DIY project?". To me, three things:

Understanding the difference between a "project" and a "product"
It took 2 to 3 months to design something like the Shruthi from A to Z.
At this stage you'll have something awesome that you can put in a box, use yourself, post a video to Matrixsynth and be very proud of. But then it will take maybe 5 or 6 months to turn it into a "product", to sort unsexy things like documentation, sound banks, testing on a variety of setups, parts sourcing and validation, more field testing, feature requests from beta testers, etc.
I had changing opinions about whether oscillators, filters, modulations, etc. were the most important element to define the "sound of the synth". In the end, my view on that is that what makes a synth good is the presence, or not, of a "vision" or "plot" about how it should sound like, and then the effort made to ensure that every module contributes to this vision and goes in the right direction.
This is why I believe "design by committees" efforts like the Tyrell from Amazona are a bad idea - "just making the majority happy" is not the sort of vision to build something upon. At least not in arts.
When the designer of a synth has never taken the time to actually listen to its creation, it shows!

Hispasonic: Thank you very much Olivier for some of your time - we know that you are really busy these days - and for really getting involved in the topics treated. We do know that you are not very enthusiastic about being interviewed or talking about your products, as you completely trust on their sound as their best marketing campaign. We can’t wait to hear and play with your last creations. They will give us plenty to talk about, for sure."

Useful links:
Mutable Instruments
Shruthi-1 on Youtube
Shruthi-1 audio demos on Soundcloud
Contact the interviewer:
me@juanvilchez.com http://www.juanvilchez.com

An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.

SPITFIRE's eDNA EARTH Organic Synthesis

Published on Sep 3, 2014 Spitfire Audio

"Spitfire successfully pilots next-gen soundware back to EARTH with elemental eDNA release

LONDON, UK: compositional tools creator Spitfire Audio is proud to announce availability of the first phase in its eDNA (Electronic DNA) project, EDNA01 - EARTH — a mouth-watering, once-in-a-lifetime collection of electronic sounds served up from the most valued collection of orchestral recordings on the planet, creating the next generation of soundware for the next generation of music makers, as of September 12...

Fact: Spitfire Audio has spent the last decade creating the world’s finest orchestral library. But the simple fact is that this was never its prime objective. Often words are never enough, in fact, yet the tantalising EDNA01 - EARTH teaser did just that with a carefully chosen few: SPITFIRE DIRECTIVE: MAY 2004... PROJECT CODENAME: GAIA... OBJECTIVE: INFILTRATE THE WORLD’S GREATEST ORCHESTRAS... MINE SONIC ORE... TO CREATE RAW COMPONENTS FOR... eDNA... PHASE #ONE... EARTH ORGANIC SYNTHESIS.

Intriguing, isn’t it? So what on earth is EDNA01 - EARTH, exactly? Easy answer. For the last five years Spitfire Audio has been cherry-picking its way through the best musical moments from seven years’ worth of orchestral recordings and placing them through a series of extraordinary analogue and digital signal-warping chains to create the largest sound set of jaw-dropping, next-generation, organic-sounding electronics ever heard anywhere on earth. Either this is some of the best hyperbole ever written or something special has been happening behind closed doors, waiting for the right moment to be unleashed upon the unsuspecting music-making masses, more often than not already jaded by the morass of identikit, mainstream, and clichéd dance and pop sounds already available elsewhere. EDNA01 - EARTH is far from this, and far more besides, however. Hearing will be believing, believe us. Now that’s another fact to chew on! And here’s some more serious food for thought...

While Spitfire Audio has been hard at work recording the finest orchestral players for several years now, practising its collective craft of carefully creating the best strings, brass, woodwinds, and percussion libraries in the world to let loose on musicians the world over, coming from a background of the first wave of EDM (Electronic Dance Music), many here have hungered to get their hands on those superb sounds for further ill-gotten gains — hence the best orchestral recordings being saved to an above top secret hard drive to act as a repository for raw material. The elemental ore or set of polished diamonds, waiting to be roughed up all over again, if you will. While this proved to be a drawn-out process, it was well worth waiting for, that’s for sure!

Indeed, five long years were spent experimenting with orchestral warping techniques, finding the most rarefied analogue outboard and synths with which to filter, mangle, and much more besides, as well as commissioning and creating bespoke digital signal paths. Sounds were pulled up from that top secret hard drive, fed through an awesome multistage signal path, then left simmering overnight to create the most delicious and sometimes just plainly ‘wrong’ sets of sounds. Spitfire’s supremely talented team of multi-award-winning composers, producers, technicians, and engineers subsequently set about pairing down over a terabyte of data to more manageable musical chunks — the very best of the best with which to create a set of multi-sampled sound-sets that became the very building blocks of EARTH itself. Indeed, these were then meticulously organised by sound type into even more manageable sound banks, ready for future release when the time was right.

Rightfully so, Spitfire Audio — in partnership with Blake Robinson — has been hard at it for the last several years or so, cleverly creating some of the most intuitive and ingenious scripts, simple to use GUIs, and attractive front ends for its ongoing series of virtual instruments for Native Instruments’ industry- standard KONTAKT platform for Mac (OS X 10.7 or higher) and PC (Windows 7). Around a year ago, Spitfire Audio wiped the slate — or should we say script? — clean, and set about creating a monstrous new script engine, called eDNA (Electronic DNA), into which those ear-opening EARTH sound banks were effectively transplanted. ‘EARTH - Beta’ was then duly distributed around Spitfire’s state-of-the-art studio complex in central London, where the team truly went to town to create a quite frankly jaw-dropping selection of the most original, haunting, beautiful, epic, fat, angry, and downright unpleasant sounds you’re ever likely to set ears upon — here, there, or anywhere (else). EDNA01 - EARTH’s ingenious GUI genuinely fosters exploration into hitherto uncharted sonic vistas, all of which are a knob or slider away from being tweaked to belong to the user as they themselves see fit. Mangle (via the main MIX window) and add effects galore (via the main FX and MOTORISED FX windows)... it’s all there for the taking and more!

Who better to extol the many musical virtues of EDNA01 - EARTH than Spitfire Audio co-founder Paul Thomson. “There’s huge scope for you to get in and start making your own sounds with all this stuff,” says the working composer. “We are really excited about this one. It’s very useful, and it’s the kind of thing that we’ve been hankering after for a long time — especially Christian [Henson] and myself, who are always looking for some great, unusual synth sounds. The advantage of the way that we’ve put this library together is that you won’t hear the same sound that you’re using on your one- hundred-million-dollar blockbuster on the documentary about the lifecycle of the fruit fly the following day! So you can really dig in and create sounds that are your own signature in here.”

There you have it, then. An awesome-sounding collection of 1,900-plus basic instruments mangled into 1,001 custom patches across several so-called factory and artist ‘cartridges’ by Spitfire Audio’s award-winning team of composers, sound-smiths, producers, and engineers. eDNA (interface) and EDNA01 - EARTH (cartridges)... what a beautiful combination. Everything needed to take anyone ‘out there’ — and back to earth again!


EDNA01 - EARTH can be purchased and downloaded directly from Spitfire Audio for an attractive introductory price of £129.00 GBP (subject to VAT within the EU) — rising to £149.00 GBP (subject to VAT within the EU) on October 1, 2014 — from here: http://www.spitfireaudio.com/products-page (Note that this is a free Native Instruments KONTAKT PLAYER library — no additional purchases necessary to run this product to its full potential.)

For more detailed information, please visit the dedicated EDNA01 - EARTH webpage here: http://www.spitfireaudio.com/edna01-earth"

Features Overview: Boredbrain INTRFX Eurorack FX Interface

Published on Jun 28, 2019 Boredbrain Music

"This video demonstrates how to use the Boredbrain INTRFX, which facilitates effects processing between eurorack, guitar pedals and electronic instruments.

3 channels of send & return level conversion
Per-channel selection of either eurorack thru pedals or line-instrument thru eurorack
FX blend control with CV input
Capable of FX feedback and linear VCA functionality
Small tabletop form-factor"

via Boredbrain

The INTRFX facilitates effects processing between eurorack, guitar pedals and electronic instruments.

3 channels of send & return level conversion
Per-channel selection of either eurorack thru pedals or line-instrument thru eurorack
FX blend control with CV input
Capable of FX feedback and linear VCA functionality
Small tabletop form-factor

Want to connect outboard gear to your eurorack synthesizer without taking up valuable HP in your case? The INTRFX allows eurorack-level signals to be processed with pedals and/or outboard effects, and also allows line-level instruments to be processed with eurorack modules. Each of its three channels has an Interchange Switch to swap this mode, as well as an FX Blend parameter which can be controlled via CV. Because of its compact physical design, the INTRFX can be placed almost anywhere and connected to eurorack systems with 3.5mm patch cables rather than bulkier 1/4-in cables.

Feedback effects can be achieved by switching into the "wrong" mode, sending the FX return back into the FX send, while still allowing for dry signal blend and modulation. Channels can also be patched into one another and toggled between modes for experimental routing. Conveniently, each channel can operate as a reversed linear VCA for both audio and DC signals when no effects are used.

Whether you'd like to patch eurorack through some classic pedals or run a drum machine through your gnarliest modules, INTRFX makes these connections easy and flexible.

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【Practice】 Analog Synthesizer Simple Rhythm Music (BASTL INSTRUMENTS KASTLE V1.5 + PO-12)

video upload by Sound Naturelibrary

"練習やテストも兼ねて1時間触った映像です。
KASTLEをリズムキープのマスターに使用したので、独特の同期ズレを前半してしまっていますが、そこも含めてKASTLE がどんなフィーリングのガジェットか感じられると思います。

simple rhythm musicとして作業やworkoutに使ってください。

BASTL INSTRUMENTS KASTLE V1.5とPO-12を使用しています。

最近、気がついたのですがKASTLEのLFO RSTが機能してない疑いが…PO-12側での制御ができていない感じがする…どうしたものか…

日本でKASTLEを購入するなら

Googlish:

"It's a video that I touched for an hour for practice and testing.
Since I used KASTLE as the master of rhythm keeping, I had a peculiar synchronization shift in the first half, but what kind of feeling does KASTLE have including that?

Use it for work or workout as simple rhythm music.

I use BASTL INSTRUMENTS KASTLE V1.5 and PO-12.
br>
Recently, I noticed that KASTLE's LFO RST is not working ... I feel that the PO-12 side is not able to control it ... What's wrong ...

If you want to buy KASTLE in Japan

Being Noisy part 1 — The Useless Module

Published on Mar 5, 2018 Vola Noisy Stuff

Forward to 6:05 for the demos. Don't miss it.

"First episode of Being Noisy, a series on making, hacking and bending noisy instruments. On this episode I some what go trough the process on turning a Useless Machine in to an eurorack synth module.

I will try and make these kind of videos from time to time. The focus is on fun and not too serious things. I try and make them with a low budget too. My aim is to inspire people to make instruments too.

I am not an expert on electronics or instruments and sometimes I may say wrong things and do something that could have been done much better. I am learning by making.

I hope you enjoy this and thanks for watching!"

Noise Engineering Batverb - Experimental Reverb, Delay, and Infinite-Tail Generator

Sound Study // Noise Engineering - Batverb video upload by collector//emitter

Listen to Batverb stereo reverb pedal with modular and hardware synths
video upload by Noise Engineering

0:00 Intro
0:21 Doom and Shimmer
1:04 General Reverb
1:59 Ducking (with Arturia MicroFreak)
2:57 Focus and Ducking switches (with Tasty Chips GR-1)
3:53 Grit switch
4:40 Desmodus Versio and Batverb

Get your Batverb here: https://noiseengineering.us/products/...

Batverb is the stereo reverb that dreams are made of: less of a room simulator and more of a tail generating pedal, Batverb is an instrument in its own right.

Taking inspiration from our popular tail-generating modules, Batverb brings reverberation and delay to a whole new level with extensive control of timbre, echoes, and dynamics.

Start by setting a predelay time and adjusting Regen to set the length of the tail, from a short slapback-style echo to an infinite wall of reverberation. A variety of unique controls make Batverb sing in any signal chain:

Doom adds in chaotic suboctaves, and Shimmer brings in haunting overtones. With each on its own control, go wild and have both at the same time!

Low and high damping settings for the reverb tank

Add filtering and harmonics to reverb tails

Built-in saturation can apply to only the wet signal or the whole output
Includes onboard dry/wet Blend control and input- and output-gain parameters

Unique Duck switch controls the reverb’s behavior: duck out of the way of an input signal, or match the dynamics of your playing, similar to a gated reverb

Create instant atmospheres with reverb-freezing Hold footswitch
Route the expression input can to any parameter on the pedal

Store and recall 16 different presets and recall them in response to MIDI program-change messages.

.-- .... .- - - .... . ..-. ..- .-. -. .. ... .. - . .-. .. - .- ...

Exploring and sharing engaging ideas in sound, music, and synthesis
• Eurorack, 5U
• Guitar Pedals
• VST, AU, AAX plugins
• Reason Rack Extensions"

Press release follows:


Noise Engineering announces Batverb, an experimental reverb, delay, and infinite-tail generator

Los Angeles, CA — Noise Engineering, known for their expansive selection of synthesizer effects and sound sources, announces Batverb, a distinctive stereo reverb with a twist.

Noise Engineering’s take on reverb has always been innovative, creating effects that are as much instruments as they are processors. Batverb is no exception: parameters allow the resulting effects to morph organically from slapback delays to infinite reverb tails.

“Batverb was inspired by our Desmodus Versio module, but when we tried to bring the Desmodus experience to guitar, we realized quickly that we would need to rethink the approach. Batverb shares concepts with Desmodus but shares zero code: the entire thing was redesigned from the ground up, with the dynamics and tonality of guitar at the forefront,” said Stephen McCaul, Chief Noisemaker at Noise Engineering. Kris Kaiser who is the Doer of Many Things at the small company added, “Working with guitar was key, but what sounds great on guitar also works really well for loads of other instruments.” Indeed, Batverb’s stereo I/O and MIDI integration make it a perfect choice for a multitude of instruments.

Kaiser continued, “I like to say Batverb isn’t your father’s reverb because it has such unique features.” She’s not wrong. Along with predelay/delay Time and Regen controls, Batverb includes a number of parameters for shaping the tone of the reverb itself. The Grit switch adds a unique harmonic distortion to the tail or the whole mix, and the Doom and Shimmer controls add in subharmonics and overtones. Batverb also has onboard adjustable highpass and lowpass filters to shape the tone to taste.

Batverb’s configurable Bypass footswitch can cut the reverb tail immediately, or simply mute the input to the reverb processor, allowing the tail to ring out while you play. The Infinite footswitch mutes the input to the reverb tank while maximizing the feedback for an infinite atmosphere.

The innovative Duck switch uses the dynamics of your playing to shape the reverb tail. Use the right setting to duck the reverb out of the way of your guitar’s tone, or the left setting to make the reverb’s dynamics match your guitar’s.

Batverb also stores/recalls up to 16 presets with MIDI Program Change messages. Batverb features a convenient MIDI thru jack, so it’s easy to patch into your MIDI control chain. In addition, all parameters can also be controlled via MIDI for automation and remote control from a DAW or configurable controllers.

Noise Engineering is a member of 1% for the Planet and has been donating a percentage of all sales to environmental conservation. Proceeds from Batverb will benefit the organization Bat Conservation International.

Batverb is available for preorder with MSRP of $499. It starts shipping March 13 from noiseengineering.us and retailers worldwide.

Batverb was designed and built in sunny Southern California.

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