"Michael George Dean (born March 1, 1965) is an American record producer, audio engineer, songwriter, and multi-instrumentalist. He is best known for his synthesizer-heavy instrumentation and audio mixing for high-profile music industry artists. He began his career in 1992, producing albums for rappers such as Scarface, Willie D, and Geto Boys, but has since worked on records for artists including the Weeknd, Beyoncé, Kanye West, Kid Cudi, Travis Scott, Jay-Z, Drake, Madonna, Selena Gomez, and Lana Del Rey, among others. As a non-vocal lead artist, Dean has released four solo studio albums: 4:20 (2020), 4:22 (2021), Smoke State 42222 (2022), and 4:23 (2023)."
"This was a small intimate gig I did on 3.03 day at Music Room in Melbourne. Amazing beautiful small venue that is a bar with a record room and huge sound. DJs are at home here although live acts definitely not the norm here, but I am always up for bucking the trend. Being the holy day of 3.03, I wanted to do a live set that was totally ACID focused with a 303.
The additional technical challenge was to do this show with ultra minimal gear, no mixer, no power, no effects just the Roland TR-09 and TB-03 with the Korg Volca Beats, all daisy-chained together. The TR-09 was the master clock and audio passed from the Volca into the TB-03 then into the TR-09. All effects are on board, no additional processing or mixing or anything else! Just one small audio cable running into the PA. All boxes were running on battery power for even less cabling and ease of set-up. The entire space was less half a square metre!
The performance is totally improvised, unrehearsed without any additional processing or editing. No DJs or computers were harmed during this performance.
Big thanks to the Acid Safari, Bo, DJ Jnett and everyone at Music Room.
📡 This channel is supported by my Patreon supporters who get a first look, join here."
"What's better than one Octatrack? Two, of course. In today's live stream we use my battery powered Octatrack run the Octacosm project which will be processing the OP-1 Field. The Octacosm is an Octatrack Template that turns the Octatrack into a granular effects processor which is great for processing synthesizers. We will be sampling into the Digitakt and making some music from scratch.
"Dynacord CLS 222 ~ Rotor Effect ~ Super Stereo Leslie Expressive Osmose Haken Audio ContinuuMini 2x Strymon Cloudburst ~ Midi CC by AtoVproject Faderbank! Line 6 DL 4 MK2 MACKIE the Mixer The 'CLS 22' model was built from 1982 to 1988 and uses an exclusively analog signal. According to the manufacturer's official product brochure, Dynacord began developing the effect in the 1970s with the aim of imitating the sound of the mechanical rotor cabinet fully electronically and without wear. To do this, the manufacturer splits the input signal into a high-frequency and a low-frequency signal using an electronic crossover. Since the start-up and stop times of the two channels varied in a targeted manner, the rotor sound could be copied electronically. You could choose between fast speed (“Fast”), slow rotor sound (“Slow”) and untouched signal (“Stop”). In addition, the input level of the preamplifier, rotor balance, and output level of the signals could be adjusted between monophonic or stereophonic. On the back there is a power plug, jack sockets, XLR outputs, fine adjustments for the rotor speed and a footswitch input.
In 1989, a revised version of the device was released under the name “CLS 222”. This effect device supposedly now also uses a digital signal for signal processing, in contrast to the pioneer. However, according to the circuit diagrams in the service manuals, both the CLS 22 and the CLS 222 use purely analog circuits, including BBD chips (so-called “bucket chain memory”) for the signal delay. According to the manufacturer, the CLS 222 model could still be used for electric guitars, microphones and PA systems without any problems, although the previous model was designed more for keyboards British rock musician Eric Clapton used a white “Dynacord CLS 222” from 1989 to 1996 as part of his Soldano/Cornish guitar routing system. The effects device came into the system for the B part of the Cream song Badge. On the original recording, Clapton recorded the part with an original Leslie speaker, but used the Dynacord as a replacement for the performances during the Journeyman World Tour and world tour in 1992.
The guitarist David Gilmour of the rock band Pink Floyd also used a “Dynacord CLS 222” in his guitar and effects device system, which, like Clapton, was also developed by the British electrical engineer Pete Cornish.
The guitarist The Edge of the Irish band U2 also used the “CLS 22” effects device. The French music producer and disc jockey Joakim Bouaziz uses a “Dynacord Leslie simulator CLS 222” in his New York Crowdspacer Studio.
"SON WU's beatmaking & music production tips and tricks with teenage engineering gear are well-known. In this video, he shares his five favorite things about the new teenage engineering EP-133 K.O. II 64MB Sampler Composer — one of the most popular and fun samplers on the market.
if you're already planning on purchasing any software and want help support me,
purchasing any software via the above link helps me out with a %15 commission
Thank you"
Unfiltered Audio Battalion videos by Plugin Alliance
video uploads by Plugin Alliance
"Here, you will find all you need to know about the new drum machine plugin from Unfiltered Audio. Battalion combines samples and synthesis to deliver the ultimate beat creation plugin. See how versatile and intuitive this new drum production plugin can be. Watch the trailer for this beat-making plugin and learn more about its features and functionality as a drum sequencer plugin."
"Battalion delivers the diverse tonalities and parameters of iconic drum synths with the sampling capabilities and accessibility of modern drum machines. Whether you want to generate solid-studio beats in minutes or tweak and experiment to create something completely original, Battalion has all the tools you need.
Quick and diverse beat generation
Make beats with Battalion in three easy ways: create beats in the synth section, use Battalion's vast sample library, or process your own samples.
Responsive beat arrangement
Arrange your beats into compelling combinations with the intuitive graphic sequencer. Create patterns from scratch or adapt presets to your needs.
Essential and deep beat transformation
Enhance and radically manipulate your beats with a wealth of essential and other-worldly synth parameters in the dedicated Tone, Modulation, Envelope and LFO sections.
Beats for all genres
From driving trap beats to haunting industrial pulses, regardless of your genre, Battalion has the beats for you.
Command the stage with performance mode
Use Battalion’s performance mode in your DJ sets or live performances to trigger, loop, and manipulate sounds on the fly and create moments of inspiration with ease.
Synth section
Create compelling tones and timbres from the ground up with a synth section featuring 20 distinct synthesis engines. Explore iconic 80s drum machine sounds, 00s clicks and cuts, and synth sounds that will take you to another dimension - all the essential synth sounds you need for drum production.
Sampler
Battalion’s sample section is a dedicated space for loading, playing, and modifying samples, featuring four sample modes: Classic, Phase Warp, Cloner, and Granular.
Combine synth and sample generators
Seamlessly move between sampling and synth generators with the on-board BLEND slide for the best of both worlds and totally unique combinations.
A versatile and intuitive drum production environment
Give your performances something special, deliver solid beats quickly, layer complex rhythms that pulse with life, and create beats that sound like nothing you’ve ever heard – all with the power of Battalion."
"We've just uploaded our second video clip 'Findings' from our freshly released EP.
The vocal melody was inspired while listening to Tangerine Dream's Stratosfear. Then I started building the intro with my MS 20 sequenced by an SQ1. Added drums from my drumbrute but the final buildup came into existence after adding a acidic bassline from my TB303. The soprano the final section is a sample from Maria Callas opera drenched in reverb ."
