"Hybrid reverb with an artificial space designer, combining it with algorithmic reflections tail processing, is ideal to creating immersive ambience of deep spaces, lush atmospheric textures or stunning whispering backgrounds in your ambient, electronic, experimental and sound design projects.
Unlike traditional algorithmic reverbs, Stellarvox constructs a complex model of a vast resonant sound spaces with choice of geometry, dimensions and tonal structure of the space, along with a unique feature that dynamically change the timbre of reflections over the reverberation time. The second algorithmic reverb allows you to prolong and blur reflections, adding extra dimensions to the sound space.
Easy-to-use controls on a single screen, along with optimally designed parameters that always give great results, make insignificant the peculiarity of that kind of reverbs, when the model creates with a little delay after changing it. Factory presets and the random feature will give you a starting point of inspiration and allow you to get a quick result where you need just to slightly tweak the parameters to align with your idea.
This application is great for ambient projects, it can create mesmerizing atmosphere from single infrequent sounds of various instruments, or giving a beautiful and deep backgrounds to sharp sequences in electronics, as well as for any experimental projects that require unusual, deep and rich sound ambience."
W.A. Production introduces InstaComposer 2 as advanced AI MIDI Tool taking popular MIDI creation station plug-in predecessor to another level
PRAGUE, CZECH REPUBLIC: W.A. Production, producers crafting creative plug-ins to help anyone achieve studio-quality processing speedily and easily, is proud to introduce InstaComposer 2 as an advanced AI MIDI Tool taking its popular InstaComposer MIDI (Musical Instrument Digital Interface) creation station plug-in predecessor to another level — launching new features and improvements that enhance the user experience with more MIDI tracks, scenes, new scales, and new modes married with enhanced generative coding and superior performance to make practicable new ideas flow more quickly than ever before by producing a wide variety of musical elements, including melodies, phrases, riffs, and chord progressions to provide both beginners and professional musicians with endless possibilities for creating unique and engaging music in any genre or style while working with an intuitive interface and advanced algorithms allowing them to focus on the creative aspect of music production without having to think about composing every note — as of July 6…
Ever experienced those testing moments when creativity runs dry? Do not fear, for InstaComposer 2 is the ultimate musical muse. Indeed, infinite inspiration is at the creative core of the thinking behind making InstaComposer 2 what it is — an advanced MIDI generation plug-in designed to revolutionise music creation. By building upon the solid foundation of W.A. Production’s popular InstaComposer — itself released to widespread critical acclaim in its original incarnation in October 2021, InstaComposer 2 truly represents an even more attractive proposition, with exciting new features and improvements to enhance the user experience. Example highlights include an ability to organise ideas and song parts with eight new so-called ‘scenes’ — Scene 1 through to Scene 8 — that provide a convenient way to store different variations within a single preset; upgraded Scale support, with 22 additional scales ranging from Arabic and Spanish through to Miyako Bushi, Ryukyu, and more; a new virtual keyboard and highlighted chord menus to help with scale and chord selection; and melodies that can be generated in different modes and paired with unique chord progressions for each scale. Speaking of which, InstaComposer 2 adds two new-generation modes to its notable name — namely, Drums, enabling effortless generation of drum lines (supporting a wide variety of complexity levels, styles, and time signatures), and Pad 2, facilitating creation of a fuller, richer sound (by combining Pad and Chord modes). AI algorithms have been further improved for rhythm, phrase, and melody generation, conjuring more refined results, while new additions like the Sustain parameter — provides control over the length of the notes that are going to be generated — and a Chord Helper — highlights the notes for the selected chord on the virtual keyboard — help take things to another level entirely.
Each new starting point for InstaComposer 2 generates a unique result to ensure that users never run out of fresh ideas and possibilities for their compositions, ultimately. Unlike random note generation, InstaComposer 2 employs meticulously crafted algorithms and databases to produce musical ideas. Indeed, it constructs rhythmic and melodic structures that sound correct by mimicking human creativity — selecting notes that fit the given scale and context, and creating cohesive phrases that complement underlying chords. Clearly, InstaComposer 2 ‘understands’ the human brain’s affinity for pattern recognition. After all, AI (Artificial Intelligence) is involved in making InstaComposer 2 do what it does — different shapes and formats are used to build captivating combinations of beats and bars, adding rhythmic and melodic consistency often found in chart-topping music. Moreover, by using smaller musical chunks that repeat or occur in various forms throughout the melody, InstaComposer 2 builds larger blocks, creating a sense of unity throughout its user’s music-making interactions. It even harmonises notes to enrich the sonics (depending on selected mode and settings), resulting in a more cohesive composition as it aligns melody to chords. Adjustable AI controls — Generate Chords generates harmonious sequences of chords inspired by the most commonly used chord progressions, for instance — and a convenient Chaos control — ensures everything remains under control by preventing unwanted chaotic situations such as notes repeating excessively, jumping erratically, or climbing too far in one direction — mean that users can comfortably remain in charge of how InstaComposer 2 develops ideas (and how far it strays from any set rules), while fine-tuning of chord complexity, note population, beat and bar structuring, pattern generation, harmonisation, velocity randomisation, and more are always available.
As an advanced AI MIDI Tool, InstaComposer 2 includes complex algorithms for generating Melody (generates a wide variety of melodies and phrases), Riff (similar to Melody, but with shorter phrases, more repeating patterns, and more restricted structures), Ostinato (generates short melodic phrases that keep repeating, often ignoring chord changes underneath), Rhythm (generates more harmonies, focusing on rhythmic patterns and chord notes), Bass (generates bass lines that compliment chords and melodies being played), Chord (focuses on the chord notes with options to inverse chords and add bass notes), and Pad (emphasises longer notes often focusing on harmonies based on underlying chords). Creatively exploring the potential of these modes means users are always uncovering unique and compelling music. Moreover, with those eight scenes available alongside six tracks — Track 1 through to Track 6, InstaComposer 2 offers flexibility and organisation for multiple layers, alternative variations, and different song parts within a single preset.
Put it this way: with a user-friendly piano-roll interface at their fingertips, users can effortlessly manoeuvre, duplicate, and remove notes, and even change velocity to effectively breathe life into their riffs, while the onboard MIDI editor can be used to tweak the output of InstaComposer 2, meaning music can be manipulated before it even leaves the plug-in. Personalised style and creativity can be easily added to the AI-generated phrases, in other words.
Modifying MIDI playback directly within the InstaComposer 2 interface itself is also on offer — simply save the output as a MIDI file or conveniently drag and drop it into a DAW (Digital Audio Workstation). It is also worth noting here that each track can be saved separately. Setting up multi-channel instruments as an alternative workflow also allows for routing MIDI from InstaComposer 2 into virtual instruments to preview all six tracks simultaneously — and all without ever having to leave the plug-in environment.
It is fair to say, then, that by taking its popular plug-in predecessor to another level as InstaComposer 2, W.A. Production has surely succeeded in creating the only MIDI creation station anyone could conceivably wish for... today, tomorrow, and into the foreseeable future!
InstaComposer 2 is available to purchase at an attractive 70%-discounted introductory promo price of $32.70 USD until August 17, 2023 — rising thereafter to its regular price of $109.00 USD — as a 64-bit AU-, VST-, and VST3-compatible plug-in for macOS (10.15 or later) and 32- or 64-bit VST-, and VST3-compatible plug-in for Windows (8 or later), as well as an AAX-compatible plug-in for Pro Tools (11 or higher), directly from W.A. Production via its dedicated webpage, which also includes some superb audio previews, here: https://www.waproduction.com/plugins/view/instacomposer-2
Owners of the original InstaComposer can upgrade to InstaComposer 2 for only $10.00 USD.
14-day, fully-functional trial versions of all W.A. Production plug-ins — including InstaComposer 2 — are available by signing up for an account for free from here: https://www.waproduction.com/users/login
Use the player controls on bottom to skip around. You can find descriptions for each video below. You can find additional Synthesizers.com contest posts here.
Playlist:
1. O Z Hall: Zebra Synth
Dive into the enthralling world of synthesizers and witness O Z Hall's outstanding entry, "Zebra Synth", in the Synthesizers.com Composition Contest. Crafted with unparalleled precision and technique, this remarkable composition combines an array of captivating sounds that will take you on a breathtaking sonic journey.
Hall masterfully utilizes three distinctive patches in "Zebra Synth" to create an immersive soundscape. The first patch features a drone made using a Q106A oscillator, which is meticulously processed by a wave folder. Another oscillator, intertwined with linear FM from the wavefolder output, results in a fascinating "clang tone" that is beautifully amplified by a digital reverb.
In the second patch, a sequenced voice is artfully produced by employing two re-paneled Q106 oscillators. One output is channeled into the input of the linear FM, which subsequently provides intriguing timbral variations. The Q119A sequencer's 3rd row masterfully controls a Ratchet effect, adding even further depth to the composition. An expertly-applied digital delay effect enriches the output of this patch.
Lastly, the lead voice is ingeniously designed using the Q169 Dual Oscillator with Pulse Width modulation. O Z Hall skillfully manipulates the 24db/oct low pass filter in real-time to deliver an electrifying performance. The extended digital delay effect ties the entire sonic experience together. O Z Hall's "Zebra Synth" draws its arsenal of modular synthesis tools from the Synthesizers.com catalog, including Q106, Q106A, Q119A, Q171, Q148, Q127, Q169, Q168, Q167, Q114, Q174, and Q175A modules. The creative process has been meticulously executed, showcasing how these modules can be combined to engineer a rich and dynamic sound adventure.
"Constructs of Time introduces Gradient, a polyphonic synthesizer for Kontakt Player that captures the raw and organic sound of analogue.
A Eurorack modular system and a modified Arp Avatar are deeply multi-sampled to create powerful mono and wide stereo sound sources.
Think tube-saturated sine waves, chorused saw waves, noisy pulse width modulation and powerful ring modulation.
Gradient’s filters, modulation sources and effects further shape the sound.
The clean and minimal interface makes sound design fast and intuitive. All controls are carefully selected and calibrated, resulting in a big sweet spot.
Gradient comes with 190+ production-ready presets, covering from cinematic pads to deep basses and punchy stabs.
NKS compatibility provides a seamless hardware experience. The controls are tailored to each preset for an optimal hands-on feel.
Key features:
Works with Native Instruments’ free Kontakt Player NKS compatible 190+ production-ready presets 2 oscillators (83 waves) & 1 noise generator (21 waves) 3 panning modes (alternate, key tracking, random) Lowpass and highpass filters 4 shapers (overdrive, grit, crush, tape) 2 envelopes & 2 syncable LFOs with multiple destinations Delay & reverb"
"In this piece the Mandelbrot set ‘plays’ a Buchla 259e and friends (including various Max-for-Live devices). The 259e is my favourite Buchla oscillator as it contains a wealth of tones varying from a simple sine wave to chaotic digital noise - which kind of represents what happens to the points within and around the Mandelbrot set. With a 259e you can make a ton of sounds ranging from pure and harmonic, melodic to percussive, so it is perfect for this experiment.
OK, so this is the first of my explorations into the ‘sound’ of the Mandelbrot set. I’ve been thinking about and working on the idea of ‘sound and fractals’ & order and chaos for some time now. Some of my earlier work is based on these ideas and I intend to release more material exploring the many aspects of these fascinating mathematical constructs and the relationship to sound and rhythm.
This first track and video is relatively simple – I basically look at various points, being real and imaginary numbers, in and around the Mandelbrot set. Depending on where a point starts there is a pattern, or orbit, related to the formula z = z2 + c where ‘c’ is the point of examination. The equation is repeated, and a pattern emerges which you can see by the lines emerging from each point. If the pattern stays within the black area then it is said to be part of the Mandelbrot set and tends to produce a pure or harmonic set of tones. Stable orbiting patterns within the set can also have different periods from 2, 3, 4, 5 and so on, as you can see in the video, these points derive from the ‘bulbs’ off the main set. These periods create the harmonic series tones. Points that are outside of the Mandelbrot set quicky become noisy and chaotic and disappear to infinity.
For this sonic experiment the movement of the original point ‘c’ and the patterns each point creates forms the origin of the notes and gates. The starting point being the fundamental frequency, and the patterns with stable orbits become harmonic ‘chords’. These are converted to midi note data. Changes in the position of the point are registered as a midi note on and off which generates gates and triggers used for the percussive tones.
I convert the midi data to cv (control voltages) to drive the Buchla modular synthesiser as well as using the midi within various Max devices.
The sounds on the video are derived wholly from the midi / cv data created by the movement of the original point on the Mandelbrot, there is nothing added. The ‘artistic’ aspect of the piece is derived from where I choose to sweep the points and the sounds and percussion allocated to the midi / cv data.
I have more in the works exploring Mandelbrot and Fractals!
I want to acknowledge that I’m certainly not the first person to do this. There are many many examples to be found on-line and in some instruments. My version is based on this original concept and application code by CodeParade found here:"
"Try it out now! https://codeparade.itch.io/fractal-so...
Making music and sound effects directly from common fractals was an idea I though of one night, so I just had to try it out to see what it would be like. The results were really interesting and actually helped me understand even more about fractals and chaos.
"Get my EP on
https://letarsier.bandcamp.com/releases
Live with an Elektron Analog Keys, an Octatrack, a Moog Minitaur and a flute.
Combining analog synths, live winds instruments, sansula and areal delay, Axel Rigaud (a.k.a. Le Tarsier) constructs overwhelming soundscapes in real time, plunging his audiences into a hybrid musical universe where electronic and acoustic mediums mesh as one.
Exploring the very limits of what a single musician can do alone, his aim is make each performance an opportunity for risk by never relying on pre-recorded audio. This approach allows every performance to vary noticeably from one venue to the next. Thus, his audiences become bathed in a swirl of electro-acoustic sounds which is always original and unique. On one night, his flute, immersed in reverb worthy of a cathedral, may float aloof above analog pads, all corroded by saturation. Meanwhile, arpeggiators create an addictive flow, and sub frequencies pound a a regular and all-encompassing pulse.
In may 2015, Axel realised his first EP which bears his stage name: "Le Tarsier". Written between December 2014 and March 2015, the five tracks demonstrate his ability to create a brand of electronica which is both exciting and organic. The careful recording process brought the clarity and quantisation of machines, together with the timbres and airy quality of his wind instruments. One red line brings all of the tracks together: the sound of the bustling crowd of the Parisian train station Gare de l'Est, where he spent many hours during the the period surrounding the construction of the EP."
YouTube via MediaArtTube — May 18, 2010 — "Kurokawa composes time based sculpture with digital generated materials and field recorded sources, and the minimal and the complexities coexist there. Kurokawa accepts sound and imagery as a unit not as separately, and constructs very exquisite and precise computer based works with the audiovisual language. That shortens mutual distance, the reciprocity and the synchronization of sound and visual composition. He also performed live-visual for musicians such as HUMAN AUDIO SPONGE(ex.YMO: Sketch Show + Ryuichi Sakamoto). In recent years, Kurokawa is invited to numerous noted international festivals and museums in Europe, US and Asia including TATE MODERN[UK], ARS ELECTRONICA[AT], transmediale[DE], Shanghai eARTS[CN], MUTEK[CA], and SONAR[ES] for concert and exhibition, and he continues to be an active presence on the international stage. More info: http://www.ryoichikurokawa.com/"
"Anchorsong is the solo project by Masaaki Yoshida from Tokyo, Japan.
He creates music with AKAI MPC2000XL and KORG Triton right in front of the audience. Some people say, "To see that he constructs music little by little on the stage, reminds me of a painter drawing on a white canvas." This time, he collaborated with amazing string quartet.
Finally, his 1st EP "The Storytelling EP" was released on 16th May 2007. 2 discs inside(CD & LIVE DVD), and full version of "Breathe Breathe Me" is included on DVD side."
