Knobcon is set for September 6-8 in Chicagoland, USA.
"The organizers of Knobcon, the world’s only synthesizer convention, are pleased to announce FM synthesis pioneer Dr John Chowning as their guest of honor.
Following military service in a Navy band and university studies at Wittenberg University, Chowning, aided by Max Mathews of Bell Telephone Laboratories and David Poole of Stanford, set up a computer music program using the computer system of Stanford University's Artificial Intelligence Laboratory in 1964. In 1967 he discovered and developed an algorithm for generating complex sounds using frequency modulation (FM). This breakthrough in the synthesis of timbres allowed a very simple yet elegant way of creating and controlling time-varying spectra. In 1977 Stanford University licensed the FM synthesis patent to Yamaha in Japan, leading to the most successful family of synthesizers in the history of electronic musical instruments.
In addition to his keynote address at the annual banquet, John will be hosting a workshop during the three-day event entitled “Learn FM Synthesis From The Man Who Wrote The Patent”
Knobcon is the world's only synthesizer convention, celebrating its eighth year. With performances, workshops, and vendors, Knobcon is a fully immersive experience. Attendees have access to an incredible playground of equipment and designers of some of today's most innovative synthesizer products.
Held in suburban Chicago, Illinois at the Hyatt Regency Schaumburg, the entire event takes place under one roof. Enthusiasts travel from all over the world to attend this annual event. Easy access by all forms of transportation makes Knobcon the most convenient synthesizer event you'll ever attend!
If you are interested in the electronic arts, this is the place for you. Be a novice or a neophyte, Knobcon is an inclusive and enjoyable experience.
"Japanese designer Yuri Suzuki has reimagined a sixty-year-old electronic sequencer machine as a physical piece of music software that uses artificial intelligence to generate melodies.
Conceived by musician Raymond Scott in 1959, the Electronium, which is regarded as the world's first electronic sequencer, was made up of three switchboards mounted on a wooden cabinet.
Although the machine was never completed, it was meant to allow users to perform and compose music simultaneously.
Using pre-programmed algorithms, it would turn a snippet of any given melody into a full composition while enabling users to add embellishments over the top.
Presented at the upcoming Barbican exhibition AI: More Than Human, Suzuki – who is a partner at Pentagram – wanted to recreate the landmark machine using musical AI software Google Magenta.
Playlist:
Beatformer | All-In-One Beat Sculpting Plug-In by accusonus
Thavius Beck: A Quick Way to Improve Your Drums and Beats Using Beatformer
Thavius Beck: Comparing Beatformer to Ableton Live's Drum Buss
Press Release:
MAY 29, 2018 - Accusonus Inc, developers of music software tools based on artificial intelligence technology and makers of the critically-acclaimed beat-making plug-in Regroover announce the immediate release of Beatformer. Beatformer is an all-in-one beat sculpting plug-in for the modern beat maker. Beatformer allows users to effortlessly shape their beats, without compromising their character and musicality. You can use Beatformer in every beat track, either you want transparent or extreme sound manipulation. The plugin has four intuitive controls (Boom, Punch, Squash and Air) that offer powerful Digital Signal Processing in a delicate design. With more than a dozen high-quality algorithms under the hood, Beatformer opens up a wide range of musical beat shaping possibilities.
“In accusonus, we believe that as technology is evolving beat making must become more intuitive and inspiring. Music creation is all about creativity and when our users are “in the zone”, they need fast workflows.” says Alex Tsilfidis, CEO of accusonus. “With Beatformer we offer advanced technology in an intuitive user interface. This allows us to facilitate the fast workflows of our users but at the same time to preserve character and musicality. We think of Beatformer as the perfect companion to Regroover, our flagship drum loop un-mixing plugin”
Use Beatformer to:
● Glue your drum mix together
● Bring energy into overprocessed loops
● Easily enhance your beat’s dynamics
● Add colour and personal character to your beats
● Add substance to thin sounds
● Instantly transform the sound of your beats
Price and Availability
Beatformer (AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win) is immediately available at in intro price $79 (Reg: $99).
"Kauldron is our warmest sounding, punchiest synth yet! A completely new modeling technology, combined with carefully designed features help you create aggressive synth sounds full of rich analog textures with the fewest knob tweaks. The result is a pure, head-on tone that requires little or no FX or post-production to sound big.
Kauldron pushes every available iOS technology to the max: it is not only fully universal (you can run it natively on your iPad and iPhone), but also an Audio Unit plugin. In fact, it is one of the first fullscreen AUv3 plugins for iOS: with iOS 11 and a compatible DAW, you can enjoy all the great Kauldron features on a nice, big spread.
Kauldron debuts the next generation of our Artificial Intelligence preset creation system, SPAWN². Completely reimagining the groundbreaking SPAWN algorithms in our hugely popular Magellan, the new SPAWN² gives you unprecedented control over generating presets. In the expert mode, you can accomplish anything from subtle ‘variations on a theme’ to bold new sounds. In the basic mode, where Kauldron does all the thinking, you get preset after usable preset with just a touch. This is not simple randomization: it is the power of machine learning put to benevolent use!
Kauldron is designed with modulation and fine dynamic control in mind. The two fully-featured LFOs and the mod envelope combine with a wide variety of MIDI learnable controls to manipulate multiple parameters. Everything is easily set up in a clearly laid out ‘mod matrix.’ The dual XY-pads can be used for controlling modulation or a wide range of synth parameters. MIDI aftertouch can be routed via the matrix for even greater control over expression and tonality.
Powerful arp with both live & program modes; comprehensive MIDI features with effortless MIDI learn; over 900 presets; recording, sharing, IAA, Audiobus 3, Ableton Link — these are just some of the features brewing inside Yonac’s Kauldron.
Selected Specs
SYNTH
• 3 analog modeling oscillators w/ multiple waveforms & true PWM
• FM via Osc 2
• Maximizer module with drift, spread & voice count for huge, stereophonic all-synth sounds
• New vAnalog filter design w/ ‘dirt’ overload for even warmer, harmonically complex tones
• Dedicated filter ADSR envelope
• Filter tracking, contour & more
• Pink/white noise generator
• Osc. phase reset & sync
• Retro & modern glide algorithms
• Virtual VCA envelope with 2 attack types
• Poly/mono operation
• Legato mode for buttery smooth passages
• Extensive modulation options via the ‘mod matrix’
• 2 LFOs w/ BPM sync, keytracking, trigger mode & more
• Assignable mod envelope
• 23 mod targets
• 11 mod controllers, including aftertouch, velocity & keytracking
• 2 XY-Pads for controlling mod targets or synth parameters
• Arpeggiator with live & program modes, 11 algorithms, gate, swing, note value, octaving & more
• Stereo mod effect with chorus & flanger modes
• BPM-syncable stereo delay
• Studio quality reverb w/ 7 room types, damping, time & mix
• 900+ presets in a wide variety of styles & sounds
SPAWN²
• Automatic preset generation via artificial intelligence
• Generate infinite new, usable presets at the touch of a button
• Expert mode lets specify Variation & Autonomy for each major synth module
• 3 unique A.I. algorithms
• Auto arp programming in any listed scale
PRO FEATURES
• AUv3 - use as Audio Unit plugin on iPad & iPhone
• Fullscreen AU mode in compatible DAWs & iOS versions
• Extensive MIDI: MIDI learn, aftertouch, MIDI CC map save/share, KB mapping, program changes & more
• Inter-App Audio
• Audiobus 3
• Ableton Link
"Axon 2 is a drum synth driven by artificial intelligence. (Well, "intelligence" might be a strong word. Artificial something-or-other.) An experimental instrument, Axon uses a modified artificial neural network as a sequencer, and features seven FM-based percussion voices, that are really a single 18-operator FM voice.
If that sounds weird, you ain't seen nothing yet. It is surprisingly intuitive once you get the knack of it, and is capable of all-new, complex rhythms that repeat in surprising ways. It often gets referenced as a "random sequence generator," but there is nothing random in Axon; it is entirely determinative.
The sequencer features seven "neurons" that trigger a voice and send a pulse when they have received a predetermined number of pulses. You can wire the output of any neuron to the input of any other (with built-in loop detection to prevent runaway feedback), and in this manner pre-program the artificial neural network without having to go through a "learning" phase.
The seven individual drum voices, each triggered by its attendant neuron, are 2-operator FM voices in a configuration to best make percussion sounds, with additional FM and AM busses that all voices send to and receive from. Each voice has a HPF, distortion circuit, and white noise generator to provide a full range of percussion-oriented voicing individually, while interacting with each other in new and unique ways.
Features
• Artificial Neural Network sequencer features seven neurons, and is easily programmed to create strange new repeating rhythms.
• Seven FM percussion voices that also buss together to create a single monolithic complex percussion synthesizer.
• Full mixer with pan, level, mute, and solo on each voice.
• Built-in stereo delay with X/Y pad control over feedback and filter frequency, for live playability.
• MIDI input, including Bluetooth MIDI, for driving Axon from DAW and hardware sequencers, and Virtual MIDI Output (standalone only) for driving other software with the Axon sequencer.
• Inter-App Audio, including transport synchronization, in standalone mode.
• Internal transport for non-synchronized playback.
• Resizable vector-based user interface.
• Drawn reciprocation dingle arm to reduce sinusoidal depleneration.
• XML-based cross-platform, human-readable preset system, with copy/paste, for easy transferring of your own presets and third-party offerings.
Please Note: This application will work fine on an iPad Mini, but the user interface may be difficult to use due to the size."
"Experimental Artificial Intelligence music session. I use Refraktions IOS App in MIDI Mode to control hardware synthesizers: Moog Mother 32, Dreadbox Erebus, Novation Circuit. The musical sequence is completely generated by the Artificial Intelligence Refraktions IOS App.
Other gear: ROLI Lightpad Block, Ipad Air 2, Focusrite Scarlett 18i8, JBL LSR305, AKAI MPD 232."
"Axon 2 is a drum synth driven by artificial intelligence. (Well, 'intelligence' might be a strong word. Artificial something-or-other.) An experimental instrument, Axon uses a modified artificial neural network as a sequencer, and features seven FM-based percussion voices, that are really a single 18-operator FM voice.
If that sounds weird, you ain't seen nothing yet. It is surprisingly intuitive once you get the knack of it, and is capable of all-new, complex rhythms that repeat in surprising ways. It often gets referenced as a "random sequence generator," but there is nothing random in Axon; it is entirely determinative.
The sequencer features seven "neurons" that trigger a voice and send a pulse when they have received a predetermined number of pulses. You can wire the output of any neuron to the input of any other (with built-in loop detection to prevent runaway feedback), and in this manner pre-program the artificial neural network without having to go through a "learning" phase.
The seven individual drum voices, each triggered by its attendant neuron, are 2-operator FM voices in a configuration to best make percussion sounds, with additional FM and AM busses that all voices send to and receive from. Each voice has a HPF, distortion circuit, and white noise generator to provide a full range of percussion-oriented voicing individually, while interacting with each other in new and unique ways.
Features
• Artificial Neural Network sequencer features seven neurons, and is easily programmed to create strange new repeating rhythms.
• Seven FM percussion voices that also buss together to create a single monolithic complex percussion synthesizer.
• Full mixer with pan, level, mute, and solo on each voice.
• Built-in stereo delay with X/Y pad control over feedback and filter frequency, for live playability.
• MIDI in and out, for driving Axon from DAW and hardware sequencers, or driving your drum rack or other samples from Axon.
• Internal transport for non-synchronized playback.
• Resizable vector-based user interface.
• Drawn reciprocation dingle arm to reduce sinusoidal depleneration.
• XML-based cross-platform, human-readable preset system, with copy/paste, for easy transferring of your own presets and third-party offerings."
Moogfest 2016 Talent Announcement with Reggie Watts
Published on Dec 8, 2015 Moogfest
"Headlining performances include Gary Numan playing a three night residency of his trailblazing early albums, a two-night residency by GZA, ODESZA, Laurie Anderson, Oneohtrix Point Never, Suzanne Ciani, Blood Orange, and Sun Ra Arkestra; with keynote presentations by transhumanist activist and pharma tycoon Dr. Martine Rothblatt, and computer scientist Jaron Lanier, a pioneer in the field of virtual reality.
More than one hundred other acts are already confirmed to perform, while the conference program continues to develop in partnership with a range of esteemed universities, innovative businesses, and art/technology organizations. Program partners include MIT Media Lab, Google, Duke University, Georgia Institute of Technology, The New Museum’s New Inc., IDEO, Gray Area, and the EyeO Festival.
For the first time ever, Moogfest will take place in Durham, NC. Moogfest activates seventeen venues, throughout the walkable downtown core, from intimate galleries to grand theatres, including a free outdoor stage with participatory, all-ages programming. Durham promises to be an ideal setting for Moogfest: a city uniquely blending diversity, authenticity, world class innovation, and culture, with a long history of great music.
Program highlights:
Pioneers in Electronic Music
Electronic music pioneer Gary Numan will perform his first three albums (Replicas, The Pleasure Principle, and Telekon) over three consecutive nights in three different venues. Musical experimentalist Laurie Anderson weaves stories and song in her solo performance, “The Language of the Future” and then returns to the stage the next day to hosts a daytime conversation.
Future Pop
Headlining talent also charts a zig-zagging course across today’s synthesizer infused pop landscape, from the vibrant electronic duo ODESZA, to the future soul of Blood Orange (playing in North Carolina for the first time), a return of utopian rockers YACHT, and even the comic stylings of Reggie Watts.
Experimentalists
Immersive noise and minimalist sonic-scapes from some of today’s most progressive experimental artists, including sunn O))), Ben Frost, Tim Hecker, Silver Apples, Oneohtrix Point Never, Quintron & Miss Pussycat, Olivia Block, Alessandro Cortini, and Lotic.
Ambient Music Innovators
A rich program of sustained tones and cascading moods led by Daniel Lanois, Brian Eno’s prolific Grammy winning protege, Suzanne Ciani, and the UK’s originators of ambient house The Orb.
Hip-Hop
GZA leads Moogfest’s strongest ever hip-hop and rap lineup, supported by a roster of emerging talent including Lunice, Tory Lanez, Denzel Curry, Dr. Dre protege King Mez, and Well$.
The Future of Creativity
Futurist philosophers set the tone for a mind-expanding conference. Keynotes by Dr. Martine Rothblatt, author, entrepreneur, transhumanist, inventor of satellite radio, and Jaron Lanier, a computer scientist and composer who has pioneered the field of virtual reality. Other visionaries include sound explorer Onyx Ashanti and his 'exo-voice' sonic prosthesis, Tod Machover from MIT Media LAB presenting his work in HyperInstruments, and Gil Weinberg and The Robotic Musicianship Group at Georgia Tech performing with Shimon, an improvising robotic marimba player that uses artificial intelligence.
Orchestral Ensembles
The intergalactic voyagers of Sun Ra Arkestra channel the cosmic philosopher himself. Arthur Russell’s Instrumentals ensemble, making their US debut. Floating Points’ live project veers fluidly from warm electronic to jazz to sonic space rhythms.
"XILS-lab launches low-cost luscious soft synth emulation of Eighties polysynth par excellence!
'I’ve just got miniSyn’X and am so excited, because the Synthex is a fantastic rarity. Thanks to XILS-lab for giving everyone the opportunity to play with it.'
- Jean-Michel Jarre (April 2015)
GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of miniSyn’X — an authentic, cost-conscious soft synth emulation of a much-loved Eighties-vintage analogue polysynth of Italian origin that helped define the sound of an era — as of April 8...
miniSyn’X is a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit polyphonic, duo-timbral virtual analogue synthesizer plug-in for Mac (OS X 10.5 and later) Windows (XP, Vista, and 7/8) that faithfully emulates the still-sought-after sound of the Synthex, a luscious, 1982-vintage, eight-voice programmable analogue polysynth independently designed by Mario Maggi and built by Italian home organ manufacturer Elka. Indeed, it was much loved by synth luminaries of the day — not least French synth wizard Jean-Michel Jarre, whose well-known Laser Harp performances still emanate exclusively from an amazing-sounding Synthex patch produced by one-time UK demonstrator/ programmer Paul Wiffen and audible in isolation in ‘Second Rendez-Vous’ on Jarre’s multi-million-copy-selling Rendez-Vouz album of 1986. Pity, then, that the Synthex did not sell in such Jarre-like quantities during a four-year, three-stage (50-, 800-, and 1,000-unit) production run, with one last post-production unit being built especially for Stevie Wonder, such was the legendary American singer-songwriter/multi- instrumentalist/record producer’s love for the future-classic instrument that initially failed to fly in the face of the-then ‘art nouveau’ digital age of dominating desirable FM synthesis from Yamaha’s considerably cheaper, MIDI-equipped DX7, and subsequent super-selling, all- singing, all-dancing digital designs from the likes of Roland (D50) and Korg (M1).
All synth elements are from the Nord Lead 4 being both played lived and sequenced live via Octatrack. Video further below.
"This dark cinematic electronica song was inspired by James Barrat's book 'Our Final Invention: Artificial Intelligence and the End of the Human Era' (www.jamesbarrat.com ).
This is really a live version of the song recorded in two sessions - the first on June 4th, 2014, the second on July 19th, 2014. I first sequenced the underpinnings of the songs then rehearsed controlling the arrangement on-the-fly and playing the lead lines as well as some sound manipulation in real-time. Once I felt good about my performance, I recorded the song directly to a digital recorder (Zoom H2n). I then picked my favorite takes from each session and combined them using Ableton Live and only used light mastering FX to sweeten the mix. I made a video recording of the first session as a teaser for the release of this single which you can watch here youtu.be/IN6p9QhScKw?list=UUm36lYPbh4W464V_6XPu-ow. [below]
While at first listen, you’ll hear what appears to be repeating motifs - but if you listen back a few times you’ll hear that it’s quite an unusual arrangement in that I really mix up how the motifs are repeated and combined. I vary the lead lines in each section as well.
All synth elements are from the Nord Lead 4 which I played live on keys and sequenced live via Octatrack. I make heavy use of trig-level automation to manipulate parameters on the Nord Lead via MIDI CC messages. I also sequenced real-time automation plus manipulate the Nord on-the-fly. The Octatrack also acted as a mixer allowing me to record audio down to the digital recorder.
Mark Mosher
Synthesist, Composer, Sound Designer, Producer
Boulder, CO www.MarkMosherMusic.com
credits
released 22 July 2014"
Join my newsletter to get email notifications of music/video released and events http://eepurl.com/PrtWn
Video Production Notes
I used a combination of practical projection with video feedback, real-time video effects via two webcams run through visual Software Resolume, and primary footage captured with a GoPro. I then composited all the shots in video editing software with only a teeny bit of post-production to create this dark -- almost old-school analog video processing vibe.
The computers in the video are there to process and capture video from the two web cams - plus are part of the shot as a story element and for side-lighting. One is being used to project a camera in real-time over my right shoulder. This same camera is also seeing the projection which causes video feedback.
This rig is quite snappy, so all the latency between the different versions of my image are intentional introduced with the video editing software to create tension.
"Foundations of Computer Music Overview ($72us new, 700 pages+)
This survey chronicles the major advances in computer music that have changed the way music is composed, performed, and recorded. It contains many of the classic, seminal articles in the field (most of which are now out of print) in revised and updated versions. Computer music pioneers, digital audio specialists, and highly knowledgeable practitioners have contributed to the book. Thirty-six articles written in the 1970s and 1980s cover sound synthesis techniques, synthesizer hardware and engineering, software systems for music, and perception and digital signal processing. The editors have provided extensive summaries for each section.
Curtis Roads is editor of Computer Music Journal. John Strawn is a Research Associate at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University.
The Music Machine Overview ($70us new, 700+ pages)
Since its inception in 1976, Computer Music Journal has led the field as the essential resource for musicians, composers, scientists, engineers, and computer enthusiasts interested in contemporary electronic music and computer-generated sound.
In The Music Machine, Curtis Roads brings together 53 classic articles published in Computer Music Journal between 1980 and 1985, providing a cohesive survey of the major developments in computer music and in the related technology during the last decade. The book includes interviews with major figures in the field and articles devoted to composition, artificial intelligence, and the popular Music Instrument Digital Interface (MIDI). Roads has written an overview of each of the book's seven parts, highlighting the major topics and placing the various articles in a thematic and historical context."
Eisenberg has released the newest update for its innovative morph synthesizer EINKLANG. The new version includes new and demanded features such as a preset browser together with easy preset management, a monophonic play mode, a louder engine with a level meter for visual feedback and a master volume slider. The update is free and ready for download at the company’s website: eisenberg- audio.de/download.
The software has gained attention for its intuitive approach. The user may pick three different tone colors and morph them seamlessly into each other without having to deal with technical parameters. The software runs stand-alone on Mac and Windows and is available as plug-in for all major standards (VST, AU, RTAS, and AAX).
EINKLANG has been released in 2013 and is the first product based on a revolutionary, artificial intelligence-based technology called AIST. It is available for purchase at eisenberg-audio.de/shop and several retailers. Prices start at $39 and bundles with additional tone-packs are available.
The company Eisenberg is a Berlin-based startup that had previously formed a core part of the world’s market leader for software synthesizers and was founded in 2011. Since then, Eisenberg is breaking new grounds with innovative and new software.
"BERLIN, GERMANY: audio company Eisenberg is proud to announce availability of EINKLANG Extended — bundling its exceptional EINKLANG software synthesizer for Mac (OS 10.6 or higher) and PC (Windows XP or later) with its RED Tone Pack, GREEN Tone Pack, and BLUE Tone Pack, plus the recently-released premium WHITE Tone Pack and BLACK Tone Pack, to add a whole new range of tone colours — as of March 20...
Eisenberg’s EINKLANG is a soft synth like no other. After all, a dictionary defines a synthesizer — somewhat simplistically — as an electronic musical instrument that produces a wide variety of sounds by generating and combining signals of different frequencies. Whereas synthesizers traditionally do this according to a strict set of technical parameters, EINKLANG resynthesizes sounds using instrument models based on Eisenberg’s Artificial Intelligence Studio Technology (AIST), allowing it to understand the structures of sounds and remember specific nuances of different instruments so you don’t have to. Lowering the pitch of a cello affects its timbre in a different way to lowering the pitch of a french horn, for example — just like their real-world counterparts. Conversely, you can even detune a single string from a cello — detuning its overtones, in other words, which is physically impossible for monophonic one-dimensional resonators such as a single string. Clever stuff!
Similarly, those instrument models can be tweaked directly using the minimal TIMBRE, LOUDNESS, and MODULATION musical parameter groups — all of which affect the sound more deeply than might first appear possible, thanks to that powerful AIST engine. Elsewhere, instrument models are also morphed seamlessly from one sound to another using the MORPHING triangle with three slots for tone colours. Cleverly, EINKLANG is the first synthesizer to introduce a strong synaesthetic link between sound and colour with all GUI controls responding to MORPHING triangle relationships in corresponding colours — just like white light is able to travel through the colour spectrum in additive colour synthesis. Morph three tone colours together as one and everything is illuminated in pure white. It’s all in einklang (agreement). As a result, musicians can concentrate on doing what they do best — making musical sounds, without having to first familiarise themselves with overwhelming technology.
EINKLANG itself comes complete with 150 tone colours for morphing purposes, ranging from acoustic to synthetic. But by bundling it with RED Tone Pack, GREEN Tone Pack, and BLUE Tone Pack, plus the recently-released premium WHITE Tone Pack and BLACK Tone Pack, Eisenberg has considerably extended its sonic reach — so much so that it’s almost like playing a completely new EINKLANG each time!
RED Tone Pack, GREEN Tone Pack, and BLUE Tone Pack effectively belong together as they capably cover a third of the common tone colours between them: RED Tone Pack provides 120 synth/lead tone colours, including a variety of classic synth basses and pleasing pads — smoothly morph from an analogue-sounding lead to a shimmering-sounding pad to a screaming-sounding bass and discover numerous new sounds in-between; GREEN Tone Pack presents 120 acoustic/live tone colours, including pads, acoustic and electric pianos, various organs, synth and acoustic basses, brass, guitars, and vocal/choir sounds — all of which can be morphed with each other or other tone colours; and BLUE Tone Pack proffers pads in profusion — 120 drone/pad tone colours, to be precise, all of which create movement within themselves or any other tone colour that they are combined with. Whatever your personal preference, each offer more MODULATION over time and a stronger dynamics component compared to the standard 150 tone colours included in EINKLANG alone.
WHITE Tone Pack and BLACK Tone Pack possess an even wider range of dynamics and intra-morphing, meaning a tone could be a piano in the lower range and a marimba in the higher range or even a trumpet when played with more dynamics, for instance. In building both of these packs, Eisenberg analysed three times more content than was the case when creating their colourful siblings — hence the premium appellation. As such, WHITE Tone Pack puts forward 120 energetic/uplifting premium tone colours, making much use of useful splits, such as different basses in the lower register and a selection of sounds such as organs, electric pianos, and pads in the upper register, while BLACK Tone Pack presents 120 dark/ambient premium tone colours, including lots of touch-sensitive basses, leads, pads, and organs, as well as sounds specially designed to add certain frequencies or qualities to enhance a set of two other tone colours — ‘stringify’ sounds or sprinkle a little ‘stardust’ over the top, so-to-speak.
With sizeable savings — compared to purchasing everything separately, surely everyone will be in complete agreement: EINKLANG Extended represents remarkable value. Quite simply, sound design heaven speedily awaits anyone willing to take the plunge into the truly groundbreaking world of AIST-assisted sound generation. Generally speaking, what takes dozens of knobs to achieve using conventional synthesizers can be done with one in EINKLANG. Exactly what’s not to like? We’re sure you’ll like what you hear — morphing or otherwise!
All set for an April release, EINKLANG 1.2 is improved with several new features: reworked playback engine with louder main output, visual level meter with fine control for volume gain, and a new preset browser in both standalone and plug-in modes."
"Moogfest 2014 Announces Daytime Presenters Including Futurists, Musicians, Scientists, Authors, Filmmakers, and Pioneers of Electronic Music Instrument Design
Phase 1 tickets start at $199 for 5-Day General Admission, and $499 for 5-Day VIP Admission while supplies last through December 19 when Phase 2 GA tickets go up to $299. All prices exclusive of applicable fees.
ASHEVILLE, NC – November 14, 2013 – Moogfest is a five-day festival dedicated to the synthesis of technology, art and music. Since its inception in 2004, Moogfest has been a magnet for artists, engineers, and enthusiasts of Bob Moog. With an experimental lineup of daytime conference programming featuring cultural, artistic and technological luminaries and punctuated by a diverse line up of landmark nightly performances, Moogfest honors the creativity and inventiveness of Dr. Robert Moog and pays tribute to the legacy of the analog synthesizer. This is no ordinary festival.
"Version 2.1 is here! Our song here shows off new 2.1 features including Audiobus's FX slot, new FREE FX (Equalizer & Compressor), ability to rearrange FX flow, and SPAWN - Magellan's artificial intelligence preset creator! All Magellan sounds in this video were created with SPAWN.
Check out our website for more info: http://www.yonac.com
Magellan on iTunes: Magellan - Yonac Inc."
Explorer 3 - 64 Presets for Magellan
Published on Feb 3, 2013 sunsineaudio·12 videos
"Sunsine Audio is proud to announce our third set of 64 new presets for Magellan from Yonac Inc. Explorer 3 utilizes full XY pad and Mod Wheel support for all presets, enabling easy and interesting variation in sound and texture. Contains basses, leads, pads, keys, and arpeggiation sequences.
*Compatible with Magellan for iPad and Magellan Jr for iPhone. Requires iOS 5.1 or later.*
