"‘Time And Space’ is the second single from Jay Wires.
‘Time And Space’ follows the debut Jay Wires single, ‘Candle In The Night’, and continues a story that began there. Filled with frank honesty, longing and unrequited caring, ‘Time And Space’ was written after an argument between Jay Wires and his ex-girlfriend. “We approached arguments differently,” he reflects. “My solution to arguments was always to talk things out as soon as possible in order to move past them, whereas hers was needing to be alone, taking time and space before coming back.” The song was written during one of those periods of post-argument separation.
In spite of its lyrical themes, ‘Time And Space’ highlights Jay Wires’ knack for creating towering, ascendant intricately-detailed electronic pop tracks, full of personal emotion and reference points. “The argument happened in December 2019,” remembers Jay Wires. “That month, we saw a live jazz band perform songs from the ‘Charlie Brown Christmas Special’ soundtrack in a hotel lounge in Williamsburg. For the instrumental break, I created the sound of brushed cymbals to capture the atmosphere of that performance.” ‘Time And Space’ concludes with a powerful, stirring, uplifting synth-orchestral segment, offering a fragile sense of optimism that this was just a temporary parting, not something more permanent.
‘Time And Space’ is the second song to be taken from the debut Jay Wires EP, ‘Kaboom!’.
"Tone Tweakers just got a shipment of Korg ARP 2600ms in. We’ve got a couple real vintage ARP 2600s in the studio (and in inventory), but this new clone is pretty cool. It’s not quite the same, but it sounds great regardless. Plus, it’s tiny and super cute. We sold out fast, but this one was purchased for the studio and we won’t have time to use it for a few months, so if anyone wants one here in the US, get in touch via the website. For sale or swap for cool vintage gear. Thanks for reading and listening."
"In 1963 two young men stepped into a factory next to the Keio railway line in Shinjuku, Japan. Their ambition was to make a new autorhythm machine, but over the next six decades their company would become one of the biggest players in music technology and would help define the sound of music around the world.
A huge thank you to all at Korg and to all the people who gave up their time and expertise to make this film film happen. A full list of credits is at the end of the film.
0:00 INTRO
1:34 FORMATION
6:19 SEVENTIES
19:34 EIGHTIES
32:38 NINETIES
40:21 NOUGHTIES
47:12 TENS
51:09 SO TO NOW
52:25 OUTRO / CREDITS"
"The new Moog Powered Eurorack Case, available in both 60HP and 104HP formats, invites modular artists to expand their setups and serves as the perfect jumping-off point for anyone interested in constructing their very first Eurorack system.
The intuitive plug-and-play unit features 10 Eurorack-compatible 16-pin power connectors and is designed for low-noise performance, high efficiency, and convenient input voltage compatibility.
Featuring a durable aluminum case with wood sides, this case offers a versatile solution for expanding your setup of Moog semi-modular synthesizers (Mother-32, DFAM, Subharmonicon, Mavis) and the case’s angled extrusion mounts into Moog 2-Tier, 3-Tier, and 4-Tier Rack Kits. The 60HP case allows for easy expansion of Mavis alongside smaller Eurorack modules, while the 104HP option perfectly fits Mavis plus one Mother-32, DFAM, or Subharmonicon.
United Plugins announces availability of JMG Sound Cryostasis SPECTRAL INERTIA effect enabling progressive audio smearing until infinitely frozen in time
PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce availability of founding partner JMG Sound’s highly-creative Cryostasis plug-in — an appropriately-named SPECTRAL INERTIA effect enabling progressive smearing any audio of until it is infinitely frozen in time, thanks to spectral effects and controls that shape the character of the frozen tail to blur audio into atmospheric soundscapes — as of October 6…
Cryostasis itself is defined as being the reversible cryopreservation of live biological objects; on the face of it, then, it is also an appropriate name for an effect plug-in placing music into a state of inertia — if it is possible to imagine such a thing. Thankfully, the imaginative team at JMG Sound have come up with a spectral freeze effect called Cryostasis to do just that, so users can concentrate on taking their music into a different direction, both speedily and easily, thanks to its spectral effects and controls that shape the character of the frozen tail to blur audio into atmospheric soundscapes. All are controlled by a continuously variable ‘freeze’ knob or an auto switch that can be timed in milliseconds or musical measures. Manually control the freezing process with the aforesaid knob or tell Cryostasis how quickly to take the sound from normal to frozen, in other words.
What is more, though, is that there is more to the superficially simple-looking Cryostasis plug-in than might first meet the eye. Examples of this include the SIZE parameter, which will change the time length of the spectral window, which will in itself completely change the sonic character — lower values sound unnatural and robotic, while higher values sound smoother and atmospheric. And balancing out the easy-on-the-eye GUI (Graphical User Interface) is WASH, which controls the amount of reverb that is used to diffuse and smoothen the ‘freeze’ effect into a lush and smoothly modulated reverb tail. Try creating spaced-out ambience and soundscapes that dissolve into the ether — surely sweet (ambient) dreams are made of this, while it can even be used as a sound design tool to create frozen vocal loops to load into a sampler!
Saying that, users can quickly fine-tune the resulting frozen sound colour with four filter controls — PITCH (controls the depth of pitch shift scaled by the ‘freeze’ control, with a range of -24 to +24 semitones); FILTER (controls the HP — high-pass — and LP — low-pass — filtering depth scaled by the ‘freeze’ control); LOFI (controls the amount of BITS and RATE reduction scaled by the ‘freeze’ control); and SHIFT (controls the frequency shifting scaled by the ‘freeze’ control, with a range of -1kHz to +1kHz) — to achieve even more unique results. Creatively coupling that LOFI magic with lower SIZE values makes creating dirty robotic glitches to washed-out dusty soundscapes a breeze. It is also possible to create a tape-stop-type effect — whereby the sound appears to slow down over time until it is completely frozen forever — by coupling the ‘freeze’ effect with the built-in PITCH shifter.
And as if that was not enough to get Cryostasis users shaking with excitement — and hopefully not from an energy crisis-induced cold when working with Cryostasis in colder climes, it is well worth noting that it also has continuously variable freeze functionality — unlike most other freeze plug-ins, so users can smoothly transition between freeze states, or even partially freeze to create time-smearing effects.
As always, JMG Sound’s highly-creative Cryostasis plug-in shares several admirable attributes with fellow family members now numbering 26 plug-ins, each playing their part in United Plugins’ proliferating product portfolio, providing maximum audio quality by using internal 64-bit audio processing as well as being able to handle any sampling rate — why not try it at 192 kHz (or even higher)? — and also the fact that it intelligently detects whether it makes sense to perform any processing at all; if not, it temporarily turns on sleep mode, meaning it requires virtually no CPU power at all, thereby saving computing resources for other processes. Putting a photorealistic 3D yet flexible GUI to the test with Cryostasis, likewise, leaves its users with the impression that they are working with real world hardware; however, it easily adapts to their needs since they can always drag the arrow at the bottom-right corner to change its size — smaller to save precious ‘screen estate’ or larger to make it easier on the eye and, as a result, even easier to use than it already is.
It is fair to say, then, that there are (almost) endless possibilities for Cryostasis users to craft creative transitions that are applicable to single tracks or whole songs in the studio or on stage. Surely getting frozen has never been so much fun — or so quickly reversible!
JMG Sound’s Cryostasis is available to purchase for a time-limited introductory promo price of only €19.00 EUR until November 13, 2022 — rising thereafter to its regular price of €79.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from its dedicated webpage (https://unitedplugins.com/Cryostasis/), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10 can also be downloaded for free.
Note that no iLok, dongle, or internet access is required for Cryostasis activation. (All United Plugins software uses license files for activation and owners can freely use purchased software on all their computers as long as they are the user.)
"Welcome to the soundset for a semi-modular synth Moog Matriarch. 'Round Robin' is a collection of 50 presets for Arpeggios and Sequences. The bank covers a wide range of tones: warm, deep, bright, metallic, mallet, soft, expressive, dreamy, dark, evolving, detuned, inharmonic, noisy, distorted and others. 📕 Get the soundset: https://antonanru.sellfy.store/moog/
The presets vary greatly from the point of view of complexity: some are simpler and will work in any track and genre, some are experimental and will make your tracks sound unique.
The collection also includes generative-style patches, they have complex modulations and movement, they have long and shorts steps, dark and bright tones, they have tempo variation, unexpected and unpredictable splashes of sound...
Generative patch may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, slice it to one-shots or make loops - you’ll get a unique material for further processing.
It is supposed that the internal Matriarch Arp/Seq should be used for these presets. Choose Arp or Seq mode (record a pattern), push/hold the keys and have fun tweaking the parameters. All my audio examples were made with the built-in Arp/Seq. Some presets use Arp/Seq Rate modulation. In this case, using the internal Arp/Seq is obligatory.
Of course, you may also try playing the keys (with Arp/Seq off) or use an external sequencer/DAW.
Matriarch has great tools for stereo sound: two filters, independent VCAs, BBD Delay. I modulated them a lot to create wide and beautiful patches, that can be hardly recreated on other hardware (especially analog) synths. Matriarch has an absolutely fantastic feature set and I tried to intensively use it to create exclusive timbres.
The soundset is presented in the form of PDF-Document. Each page contains notes that explain how the patch works, what parameters worth tweaking during the playback, how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn many things about the synth and discover its true depth.
Each patch has an audio example, it helps to understand how a patch is supposed to sound. No external effects on the examples, Matriarch Delay only.
To recreate these presets, you need up 16 patch cords, including long ones.
You should have firmware v1.2.3 or higher for full compatibility with my presets.
"Part 3 of 3. The AJH Synth Gemini 2412 Dual Multi-mode SEM-based VCF explained. The 3-part User Guide will cover this very complex and fully-featured, yet simple to use analogue filter. This final part shows how the functions explained in parts 1 and 2 can be used with both filters working together, with particular attention to creating a 24dB low pass filter, and a 12dB band pass filter, using the Gemini as a single filter in cascade mode. Also, creating formant, or vocal type sounds, evolving patches using an envelope to morph between the output of both filters, then finishing off with various no-talking patch examples, such as using the Gemini as a stereo filter, as part of a 2-voice polyphonic synth, and constantly changing sequencer patterns."
