Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
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"Spectralis 2 is the even more powerful successor of Radikals sophisticated Hybrid Synthesizer. With up to 2 GB sample memory and tons of new features Radikal raises the bar again for our competition. Never stop the sequencer engine again with our fully redesigned sequencer engine that allows for on the fly realtime sequencing, recording of MIDI controllers and overdubbing. Quick Sound Selection for every part - your most favorite sounds are just one fingertip away. Transpose your patterns and step sequences with the attached keyboard and control the Spectralis 2 parameters via MIDI from your computer. There is only one thing, we left untouched in our new design - the sound engine. Still the warmest and richest sound out there with the power of a modular synthesizer in a box.
The Hybrid Synth
The Spectralis 2 hybrid synth, fueled by the latest DSP- and true analog technology, delivers maximum tonal capabilities and leads you into a radical new world of sounds full of life and animation. The Spectralis 2’ oscillator section takes sound design to new extremes. The 4 oscillators offer continuously variable waveshapes plus time linearity modulation, FM, PM, oscillator synchronisation, bit reduction and independent pitch and volume envelopes. The self resonating filters, a 4 pole lowpass and a 2 pole multimode filter with LP, HP, BP and notch outputs, use two highly improved true analog circuit designs to overcome the restrictions of modelling based synths. The way players can interact with the destinc-tive user interface makes the Spectralis 2 hybrid synthesizer a killer live instrument with unbeatable richness and stunning flexibility. The synthesis engine takes advantage of a sophisticated step sequencing system - 32 independent parameter control lines with up to 192 steps let you explore an universe of previously unheard rhythmic effects and atmospheric textures. Punchy high resolution envelopes, are the cutting edge of todays synthesizer technology. They are the perfect weapon for the creation of floor pounding kicks, state of the art sequencer staccatos and numerous percussion effects.
"This friday Syracuse University will be taking the subject of sound sampling head on for Replay: Symposium on Sound Sampling (http://sampling.syr.edu).
From the website: "A distinguished panel—including a world renowned copyright expert; musicians who use sampling in their compositions; an academic expert; and a record label representative—will participate in a series of structured conversations about the law, business, technology, theory, and culture of sampling recorded sound. The event will also feature a live demo of sampling from the Belfer Audio Archive. The program will also be professionally filmed and simulcast on the Web."
The morning sessions will focus on the business and legal side of sampling with panelists including Google's Copyright Counsel and the founder of Illegal Art. Then afternoon will turn toward the creative side of things, with a sampling presentation by AvantUrb's Primus Luta and then in a discussion between him and Hank Shocklee from the Bomb Squad on creative innovation with sampling.
"The folk from Syracuse contacted me based on my work in creating a notation system for sampling and its implications for a legal argument. They are really trying to use the symposium as a stepping stone for addressing these issues head on. It's been a buzz topic for a couple of years now, and so there are documentaries and panels at music conferences on the subject. With all of these things though few if any solutions have been offered. That's what really makes this symposium special, its not just hey lets talk about it, it's hey lets find a solution for it."
The full day will be broadcast on the web. To watch and participate you will need to register online (http://sampling.syr.edu/register.php). If you cannot watch the live broadcast, all of the day's events will be documented and posted on the Syracuse site shortly after the event."
"Spectralis II is the even more powerful successor of Radikals sophisticated Hybrid Synthesizer. With up to 2 GB sample memory and tons of new features Radikal raises the bar again for our competition. Never stop the sequencer engine again with our fully redesigned sequencer engine that allows for on the fly realtime sequencing, recording of MIDI controllers and overdubbing. Quick Sound Selection for every part - your most favorite sounds are just one fingertip away. Transpose your patterns and step sequences with the attached keyboard and control the Spectralis parameters via MIDI from your computer. There is only one thing, we left untouched in our new design - the sound engine. Still the warmest and richest sound out there with the power of a modular synthesizer in a box.
The Hybrid Synth The SPECTRALIS II hybrid synth, fueled by the latest DSP- and true analog technology, delivers maximum tonal capabilities and leads you into a radical new world of sounds full of life and animation. The SPECTRALIS’ oscillator section takes sound design to new extremes. The 4 oscillators offer continuously variable waveshapes plus time linearity modulation, FM, PM, oscillator synchronisation, bit reduction and independent pitch and volume envelopes. The self resonating filters, a 4 pole lowpass and a 2 pole multimode filter with LP, HP, BP and notch outputs, use two highly improved true analog circuit designs to overcome the restrictions of modelling based synths. The way players can interact with the destinc-tive user interface makes the SPECTRALIS II hybrid synthesizer a killer live instrument with unbeatable richness and stunning flexibility. The synthesis engine takes advantage of a sophisticated step sequencing system - 32 independent parameter control lines with up to 192 steps let you explore an universe of previously unheard rhythmic effects and atmospheric textures. Punchy high resolution envelopes, are the cutting edge of todays synthesizer technology. They are the perfect weapon for the creation of floor pounding kicks, state of the art sequencer staccatos and numerous percussion effects.
The Filterbank Rumbling noises, nasal sounding oboes, booming SciFi-drones and vocaloid solo-voices - all these different sounds have one thing in common - the fixed filterbank. Consisting of 8 bandpasses, one lowpass and one highpass filter, the filterbank allows the selective modification of certain frequencies. The spectrum of the sound is divided into separated frequency bands where each resulting spectrum slice has an individual attentuator. Like the instrument corpus forms the frequency response of an acoustic instrument, the fixed filter bank provides a new approach in the creation of realistic instrument timbres and bizarre FX-sounds. In contrast to big modular systems of the past, where the filterbank had fixed filter response curves and simple pots to regulate the levels of the frequency slices, the SPECTRALIS comes with sequencer controlled level modulation and in depth parameter editing like individual frequency band panning, Q and roll off slope control and filter stage spacing. The usage of the fixed filterbank isn’t limited to hybridsynth voices - simply feed any DSP synth part thru the filterbank or even any external signals from the external analog inputs. The SPECTRALIS II step sequencer comes with step envelopes, where normal step-sequencers only offer a fixed value setting per step. In conjunction with the filterbank, these step envelopes allow for instance the creation of a new drum beat by simply feeding noise into the filterbank and programming some decay steps for selected frequency slices.
The sampling section In contrast to many other groove oriented sampling instruments, the SPECTRALIS II offers real multisampling and a 32 stereo voice polyphonic sound engine with powerful subtractive synthesis capabilities. Lush strings ensembles, dramatic soundscapes or earthshaking drum grooves - simply drag and drop the highlights of your personal soundlibrary from your computer onto the SPECTRALIS II. The highspeed USB2 interface transfers even large sample instruments in a few seconds. An included sample conversion utility allows importing wav- and soundfont2-files. After finalizing your music production, the entire song content with patterns, sounds and samples can be stored back to the computers harddrive. Satisfied with the backup functionality but still wondering about the LIVE situation? Don’t worry about that! The SPECTRALIS II comes with a SD-Card slot and has an onboard 1GB flash memory (expandable up to 2GB) for permanent storage of samples, songs and sounds. Features are only one side of the story - but realizing them with the latest Texas Instruments floating point DSP generation and featuring HiEnd Burr Brown DA converters gives the SPECTRALIS II the no compromise touch of a groundbreaking new star in the sonic wonderland of electronic music instruments.
The sequencing system As a groove oriented system the SPECTRALIS II features a powerful pattern based sequencer playground with realtime, overdub and step by step recording as well as grid based drum programming. Additionally, the state of the art step sequencer opens a complete new universe of tempo dependent sound manipulations and freaky polyrhythmic sequencer battles. Designed with the live situation in mind, you will enjoy the absolute freedom of realtime manipulations during your session. Mute/unmute tracks, exchange the motifs on the fly, tweak volumes, panning or FX-sends with the built in mixing console or transpose an entire pattern by simply pressing a note on your keyboard. Editing of sequences can be done without stopping the sequencer - one of the most desirable features in todays groove oriented live instruments. Start your session with a simple basic groove and add steps on the fly until the audience is totally freaked out. Are you into more serious music production? Well, the SPECTRALIS also comes with a song section, where you can arrange the patterns to complete songs."
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Refresher on the specs:
"Spectralis 2 is the even more powerful successor of Radikals sophisticated Hybrid Synthesizer. With up to 2 GB sample memory and tons of new features Radikal raises the bar again for our competition. Never stop the sequencer engine again with our fully redesigned sequencer engine that allows for on the fly realtime sequencing, recording of MIDI controllers and overdubbing. Quick Sound Selection for every part - your most favorite sounds are just one fingertip away. Transpose your patterns and step sequences with the attached keyboard and control the Spectralis 2 parameters via MIDI from your computer. There is only one thing, we left untouched in our new design - the sound engine. Still the warmest and richest sound out there with the power of a modular synthesizer in a box.
The Hybrid Synth
The Spectralis 2 hybrid synth, fueled by the latest DSP- and true analog technology, delivers maximum tonal capabilities and leads you into a radical new world of sounds full of life and animation. The Spectralis 2’ oscillator section takes sound design to new extremes. The 4 oscillators offer continuously variable waveshapes plus time linearity modulation, FM, PM, oscillator synchronisation, bit reduction and independent pitch and volume envelopes. The self resonating filters, a 4 pole lowpass and a 2 pole multimode filter with LP, HP, BP and notch outputs, use two highly improved true analog circuit designs to overcome the restrictions of modelling based synths. The way players can interact with the destinc-tive user interface makes the Spectralis 2 hybrid synthesizer a killer live instrument with unbeatable richness and stunning flexibility. The synthesis engine takes advantage of a sophisticated step sequencing system - 32 independent parameter control lines with up to 192 steps let you explore an universe of previously unheard rhythmic effects and atmospheric textures. Punchy high resolution envelopes, are the cutting edge of todays synthesizer technology. They are the perfect weapon for the creation of floor pounding kicks, state of the art sequencer staccatos and numerous percussion effects.
First we have a new software model of the TR-808 from the original developers of the 808:
"The RC-808 'Re-Create the 808' emulates the original TR-808 sound with analog manner synthesis. As the name implies, it is with respect to the original 808 sounds which is a criterion for sound synthesis as a vintage. Starting from this criterion, explore the multiverse of sounds, stretch out your vectors, to find out new criterion of your own. Yes, it can take you to the new sonic worlds that are completely different and yet so close and familiar to you.
Hence it is not a drum machine but is a drum synthesizer. No samples nor effects processing are being used, just genuine synthesis only, all in analog manner.
The sound source employs DCO which is in this case Down Chirp Oscillator, combined with a noise source that outputs various kinds of noises including metallic noises. There is also a infinite point wave shaper, a variable filter bank, infinite point envelope generators etc. With maximum 8 partials per voice, it allows sound designing in subtractive synthesis manner which is familiar to all and yet still with vast space beckoning to be discovered.
Thanks to this flexible architecture, all instruments can have Open and Close variations just like Hi-Hats or cymbal choke performance. Coupled with piano-roll sequencer utility this brings new expressions with gate time programming, that you don’t see on a drum sequencer..."
Second, the following is some info on the people behind the RC-808 (pictured above) via Vector808:
"We the Analog Mafia, lead by Tadao Kikumoto, is the original R&D staffs who developed the Mid-O Series from Roland Corporation. We would like to express full gratitude and respect to all the people who were in Roland, and supported us at that time.
In above photo, from left to right, we the Analog Mafia are:
Jun-ichi Kadoya: Roland 1977 - 1983, Mid-O Series software / hardware engineer, still is a programmer
Hisanori Matsuoka: Roland 1979 - 1995, Mid-O Series software / hardware engineer, still is an engineer
Kyokazu Fujiwara: Roland 1978 - 1981, Mid-O Series sound source, now a general manager of a software maker
Tadao Kikumoto: Roland 1977 - 2009, Mid-O and V-Series R&D, now Silent Street Music concept maker and promotion
Yoshiro O-e: Roland 1978 - 1988, System-700 and Mid-O Series R&D, now operating a chemical company
Also are:
Hiro Nakamura: Roland 1975 - 2000, CR-68, CR-78, TR-808 sound sources, engineer
Atsushi Hoshiai: Roland 1982 - present, sampling for TR-909, engineer
We all are still analog manias ;)
Because we are independent from Roland Corporation, they nor we can not answer to any kind of inquiries about us and our deliverables including this website. Thank you so much for your understanding and cooperation for everything.
Tadao Kikumoto is currently also working busy on another equally innovative project, called SSM - Silent Street Music. It is multi-channel concurrent streaming and listening technology that allows zapping through multiple music or lecture sources instantly. Join us on its exclusive introduction website (at the moment the website is only in Japanese language)"
Third, vector808 has a fascinating historical account covering the development of the Roland TR-808 starting with the x0x series, or as the original Roland developers referred to them, "The Mid-O" series. The following are three excerpts followed by a link to the full article. Note how they perceived the TR-808 was a failure compared to the LinnDrum in the second excerpt.
One:
"The Beginning
In 1983, a number of instruments were released with MIDI, the standard that I was involved in. After the tough times with all the difficulties of development, Roland launched the TR-909 the successor model of TR-808. Yamaha made debut of the ground breaking DX7, a serious digital synthesizer and again with MIDI. It was the opening of the new chapter in the electronic musical instruments, the dawn of full digital synthesis.
Roland then was still a new emerging enterprise, and did not have enough resources to pursue digital technology. To combat the situation, the Fundamental Research and Development Department was established."
Two:
"To meet the low target price, I employed oscillation technique of pulse wave modulating the simple T-network bandpass filter. By short circuiting the resistors in the T-type network for the certain initial duration with transistors, it was possible to raise the frequency. This allowed us to enforce the attack sound compared with conventional rhythm boxes.
But the initial reputation of the 808 was nothing but crippled as it was compared with the Linn products. Furthermore, the sound had insufficient impact or punch at the beginning, which resulted to have pronounced fundamental frequency 60 Hz. But then again, it was this prominent fundamental which attracted the attention of later time hip-hop and EDM artists, and they gave a name to it as “Deep Decay”. This led to the rediscovery of Mid-O Series. The long decay sound was made possible by decay parameter that I added to show at least as a sign or as an evidence of the 808 being a synthesizer. Even inside the company this was regarded as going too far, but later it became one of vital identities of the 808.“
Three:
"If you liken it in the picture art world, the TR-808 sounds are simple line drawings and illustrations so to speak. It puts more weight on showing essence simply rather than realistic photography. The traditional painting of Japan known as Ukiyo-e is a pictorial method and manner that is primarily made of outlines derived from specification of printing and paints. This manner has its own limits, and hence is a vector of criterion. Katsushika-Hokusai, famous for his Mr Fuji pictures, created The Great Wave off Kanagawa（神奈川南沖浪浦 Kanagawa Minami Oki Nami Ura）. In that piece of work, he threw off the photographic details into abstraction that boldly enhanced the great waves by outlines, and made contrast with a pointed Mt Fuji. This manner derived from its own limits is something impossible with realistic paintings that put priorities on details.
The inventor of the bass drum must have done trial and errors like enlarging the diameter or making the membrane thicker to produce fat low sound. Large portion of the beater strike energy to the skin however must have been consumed by uneven fractional vibration or parasite vibrations, resulting unwanted muddy sound. Also, the drummer spends a long time doing a lot of work on damping with blankets and else in order to suppress the unnecessary resonance with the body or with other drums. But once adequately used, this dirt will become important part of the sound, its identity, reality, and criterion.
The TR-808 bass drum was without the reality of the drums but was like an enhanced great wave depicted in the Hokusai’s picture. It is with abstraction of the details, but then again, also with dynamic and ideal low sound. It lacks with the attack impact and the release decay of sampling drum reality, but the artists chose its ideality."
"Specs and Features :
Hybrid synth - oscillator section
4 free running oscillators with continuously variable wave shapes,time linearity modulation, audio range frequency modulation, phase modulation, oscillator synchronisation, ring modulation, bitreduction and independent pitch and volume envelopes. Alternativly the oscillators can be started with a predetermined startphase. The glide effect is adjustable for each of the 4 oscillators separately. Each oscillator can be routed thru the various filter sections with individual level control.
Hybrid synth - analog filter section
2 real analog filters
- 24dB resonating lowpass with self oscillation
- 12dB resonating multimode filter with lowpass, highpass, bandpass and notch outputs and self oscillation. Both filters can be audio range frequency modulated by the oscillator section, external signals or DSP-synth parts. The filters can be operated in parallel or serial Mode. Of course they each have their independent envelopes for frequency and level control.
TCHC announces availability of SMALL STRING GESTURES as toolkit to dial up musical personality with intimate interpretative band behind each key
EDINBURGH, UK: having ‘softly’ set out its software stall late last year with a low-key launch of STRING MURMURATIONS that saw decades of award-winning experience in the music tech sector and at the composing coalface distilled into an easy- to-use, intuitive, and comprehensive sample-based virtual instrument plug-in and GUI (Graphical User Interface) introducing the cutting-edge concept of Gestures (whereby an orchestra interpreting its user’s composition and making it into music and art lies behind every key played), music-making community tools-maker The Crow Hill Company is proud to announce availability of SMALL STRING GESTURES as the latest incarnation of that concept — creating a set of tools where individual instruments and the playing style, strengths, and frailties of the intimate interpretative (3, 3, 3, 3) band behind each key are available for the user to dial up the personality of their composition, created from a collection of master recordings that have been mixed and edited into a sample-based virtual instrument plug-in with a GUI and preset browser that are as easy on the eye as they are in use — as of January 26…
An armada of strings can create awe — an epic tidal wave of human emotion, of scale, of wonder. While STRING MURMURATIONS makes it easy and intuitive to make music that sounds human thanks to three distinct palettes of expressions, each designed to feel like the user is collaborating with an orchestra of real musicians, creating endless harmonic possibilities that inspire from the moment a key is touched, sometimes music-makers need it to be intimate, truthful, personal, human — hence The Crow Hill Company creating SMALL STRING GESTURES as a set of tools where individual instruments and the playing style, strengths, and frailties of the instrumentalists involved are available for the user to dial up the personality of their composition. Cue humanity, in other words.
With this in mind, The Crow Hill Company specifically selected a 3, 3, 3, 3 — three Violin 1, three Violin 2, three Violas, and three Cellos — band size that ensured its sampling style brought every individual within that ensemble into beautifully detailed and intimate focus for SMALL STRING GESTURES. This toolset is provided with a different lens and aperture to play through.
The Crow Hill Company collectively likes to keep things moving, so while this latest incarnation of its Gestures concept is very much related to one of those distinct palettes of expression available in STRING MURMURATIONS, it is worth highlighting hysteresis — dictionary-defined as the phenomenon in which the value of a physical property lags behind changes in the effect causing it, such as when magnetic induction lags behind the magnetising force, for instance — in relation to SMALL STRING GESTURES. Getting in on the act of creating sample libraries involves always asking the instrumentalists involved to perform musical material that is incredibly easy to play in order for the end result to always be ‘together’. That is fine for programming or composing simple stuff since that would sound true to real life, but it becomes harder, however, for players to remain totally locked to each other’s tuning or timekeeping when playing more difficult passages. Pure sound becomes more problematic as a result — reduced fundamental meaning more character, which is why a lot of sample-based music used in films, games, and TV sounds ‘characterless’. Clearly the samples involved therein lack hysteresis as they were easy to play, yet playing something difficult with them does not sound natural, real, or human. Indeed, it is fair to say that what makes musicians ‘hysterical’ is speed — faster playing means looser playing that is less in time and also less in tune; reach — the wider the gap between the notes, the further they have to reach, resulting in less perfectly in tune playing; and pitch — the higher a player plays, the harder it becomes as it involves more intense accuracy from string players performing on fretless instruments.
It is for this reason that The Crow Hill Company decided to get its players to perform the hard stuff — not compositions, but mere fragments, which is why anyone working with SMALL STRING GESTURES will not feel like they are playing phrases; instead it is rather like having a string band under their fingertips. For Gestures are the very real sound of reach and performance. But by not giving the musicians behind SMALL STRING GESTURES simple stuff to play prevented them from getting bored. Better still, SMALL STRING GESTURES users are accessing the sound that musicians make when they are smiling... hysterically!
It is also fair to say, therefore, that the effect of hysteresis on a large string section — including that which was involved in the creation of STRING MURMURATIONS, for instance — is a silky, blurry sound. An audible example of this might be the fast string runs in John Williams’ ‘Hedwig’s Theme’ from Harry Potter and the Philosopher’s Stone — ditto the closing bars of ‘Mars, the Bringer of War’ from Holst’s The Planets suite. Saying that, though, there are times when music-makers do not need awe, epic, and huge scale in pursuit of their compositional craft, but instead seek something more intimate, more personal, more human. The theory that led to SMALL STRING GESTURES revolved around if The Crow Hill Company could get a string band small enough then the impact of hysteresis would not be a musical blurring, but rather an exposure of each player involved in its creation — their own style of bowing and vibrato, their own fragilities to help the user’s audience connect more with the human nature of their music.
Making that happen meant designing SMALL STRING GESTURES to make its users approach composing and making music from a totally new angle, one where it feels like there are musicians at their fingertips — not samples. SMALL STRING GESTURES is a collection of master recordings — made by world-class producers and engineers at Glasgow’s Clockwork Studios, a new custom-designed scoring stage for the UK comprising of a large hall for full orchestra (up to 80 players) with a balanced and focused sound ideal for modern orchestral recording, as well as a smaller dry space in Studio B (up to 15 players), with the world-class Scottish Session Orchestra playing some of the finest instruments through the finest microphones and mic pre-amps — that have been mixed and edited into a sample-based virtual instrument plug-in with a GUI and a preset browser that are as easy on the eye as they are in use. Ultimately, it works within anyone’s favourite DAW (Digital Audio Workstation) with 25 presets — presented as six Gestures, four Longs, 10 Presets, and five Bonus — and additional hand-crafted Selects designed by The Crow Hill Company team. There are three mix-ready stereo signals — namely, CLOSE, WIDE, and AMBIENT, as well as unique REVERB controls and a granular effects processor.
Duly designed by professional composers with the sonic connoisseur in mind, The Crow Hill Company’s collective conclusion certainly rings true, stating, “We’re a small team and have worked hard to make everything as intuitive as possible.” Put it this way: with SMALL STRING GESTURES it is perfectly possible to make music that sounds intimate, truthful, personal, human! Hysteresis, of course, comes into play here, albeit with the desired effect — exposure of each player involved in its creation.
Clearly, then, big messages come in small packages when it comes to working with the diminutive-sized SMALL STRING GESTURES as another easy-to-use and intuitive virtual instrument plug-in from The Crow Hill Company, one which is also easy on the wallet for those wishing to step into this new world of gesture-based sampling.
SMALL STRING GESTURES is available to purchase — as an AAX-, AU-, VST-, and VST3-format-compatible sample-based virtual instrument plug-in comprising 8 GB of uncompressed material (compressed losslessly to 4.4 GB) that loads directly into a DAW — for £49.00 GBP (including VAT) directly from The Crow Hill Company here: https://thecrowhillcompany.com/small-string-gestures
SMALL STRING GESTURES is available for free until February 29, 2024 when purchasing STRING MURMURATIONS for £199.00 GBP (including VAT) directly from The Crow Hill Company here: https://thecrowhillcompany.com/string-murmurations/ (Note that SMALL STRING GESTURES is also available for free to existing owners of STRING MURMURATIONS until February 29, 2024.)
Watch The Crow Hill Company founder and composer Christian Henson’s must-see SMALL STRING GESTURES walkthrough video here: [video up top]
"Whether making beats from the bedroom, designing sound in the studio, or moving crowds on the main stage, music making is about getting your ideas out. Our biggest release ever features nine new products and three major platform updates designed to help you do just that."
Playlist:
For the Music in You – 9 New Products and 3 Updated Platforms
Introducing KOMPLETE 12 – For the Music in You | Native Instruments
Introducing the New TRAKTOR KONTROL S4 – For the Music in You | Native Instruments
Introducing the New MASCHINE MIKRO – For the Music in You | Native Instruments
Introducing KOMPLETE KONTROL A-Series – For the Music in You | Native Instruments
Introducing MASSIVE X – For the Music in You | Native Instruments
Introducing the New TRAKTOR KONTROL S2 – For the Music in You | Native Instruments
Introducing KONTAKT 6 – For the Music in You | Native Instruments
Introducing the New KOMPLETE KONTROL S88 – For the Music in You | Native Instruments
Spitfire Audio collaboratively creates MERCURY library like no other by harnessing hotshot Hollywood instrument designer Chas Smith’s unearthly sounds for all
“Chas’ instruments have been a crucial part of all of my film scores, and although I’m a little sad that I will no longer have him all to myself, I am thrilled that he has finally succumbed to years of urging on my part and has at long last collaborated with Spitfire Audio.”
- GRAMMY® Award-nominated composer, keyboardist, record producer, and remixer Charlie Clouser (Saw, Wayward Pines, Nine Inch Nails), 2022
LONDON, UK: created in close collaboration with hotshot Hollywood instrument-builder Chas Smith, famed for transforming disused metal into Hollywood’s most menacing, most mysterious instruments for forty years (yet still sought after by blockbuster film composers needing to score the awe-inspiring, the mystical, the mechanical, and the alien), sound- specialising British music technology company Spitfire Audio is proud to announce availability of MERCURY — harnessing his unearthly sounds for all by sampling 14 of the hotshot Hollywood instrument-builder’s most celebrated acoustic instruments, then fusing, warping, and reinventing them in Solar, Spitfire Audio’s new eDNA-powered synthesiser, to deliver 600+ organic and synthesised textures, tones, and pads perfect for tweaking, twisting, and recombining to unleash the sinister, unshackle the industrial, and unveil the impossible worlds orbiting just beyond reach — as of August 25…
"The Diabolical Modified Casio SK-1 (Version 3) is the new and improved circuit-bent glitch monster from Diabolical Devices. Create vast sound-sacapes, unique synth sounds and total chaos, all packed inside your favorite childhood toy. The Casio SK-1 is loaded with original features, sampling capabilities, and great sounds (for what it was....) Diabolical Devices aka Class A Electronics, LLC is a leader in Professionally Modified Synthesizer and Audio Equipment, Expert Repair Services, and has a full line of Hand-Wired Tubes Amplifiers and Effects (Diabolical Amplification). Their work has been featured at NAMM, art galleries, music videos, countless tech blogs, and used by musicians all over the world, professionals and enthusiasts alike. The circuit-bending and synth mods are the work of head-technician James Gramling who has spent the last 12 years in professional audio service and electronics prototyping. Check out the new www.circuit-bent.com for updated specs, custom work questions, and new releases from Diabolical Devices.
This is the latest in our series of custom modular SK-1s by Diabolical Devices. A incredible amount of labor and materials have gone into make this one of our most extensively modified, and visually appealing SKs to date. Circuit-bent SK-1 are famous for their seemingly endless variety of unique glitches and soundscapes, we have designed the features on this SK to let you get the most out these one of a kind devices. Inspired by the MS-20 and other early modular synthesizers this is a functional art piece with amazing sounds and stunning visual effects. Hand made wooden enclosure and 100% custom panels are loaded with multi-colored LEDs which shine through patch-bay and connectors. Check out the features below. This SK is one of a kind and its specific features will not be duplicated.
Modular SK-1 #0010 Features :
Solid wood enclosure: A lot of time went into the finishing of this cabinet. It is constructed of stained Red Oak. It as been hand sanded and 4 coats of polyurethane have been applied to give it more gloss and higher durability.
Custom fabricated and labeled panels with LED backlighting
Bending interface: 21 point bending patch-bay using 1/8" phono connectors. When these points are linked directly using provided patch cables or routed through bending accessories a wide variety of effects, glitches, drones, and other unique sounds can be generated. Everything from playable effects to circuit-bent madness. These points also interact with the onboard LFOs and square-wave generator, as well as some CV and audio signals. Experimentation is the key to unlocking some of the most unique audio and soundscapes you will ever hear.
Bending Accessories: The bending points, and the reaction they will generate can be altered and further manipulated using the selection of patchable electronic components located next to the main bending patch bay. Four silicone diodes, two potentiometers, and two (4) point multi-patch banks keep the unique sounds coming.
The above features Robby Grant and Jonathan Kirkscey performing Duets for Mellotron at a previous Crosstown Arts event.
The new event is set to begin Tuesday, April 17 at Crosstown Arts in Crosstown Concourse.
"Crosstown Arts to Host Mellotron Variations Series
Multidisciplinary event to feature dance, film, performances, and more
Crosstown Arts is pleased to present Mellotron Variations, a series of original musical compositions for the Mellotron that will be performed live alongside newly created multidisciplinary installations.
The free and open-to-the-public, multi-day festival kicks off on Tuesday, April 17 with a series of collaborative performances at Crosstown Arts in Crosstown Concourse. The main event — a Mellotron performance featuring Pat Sansone of Wilco and John Medeski from Medeski, Martin, & Wood alongside Memphis-based musicians Robby Grant and Jonathan Kirkscey — is scheduled for Saturday, April 21 with a reprise brunch planned for Sunday, April 22, both events held at Crosstown Arts.
Mellotron Variations was made possible by a grant from the National Endowment for the Arts, which Crosstown Arts was awarded earlier this year. The grant was one of 1,029 Art Works grants ranging from $10,000 to $100,000 awarded to fund local arts projects across the country.
The kick-off event on April 17 will feature a dance performance by New Ballet Ensemble with Lucero keyboardist Rick Steff on the Mellotron. Memphis Symphony Orchestra (MSO) horn player Robert Patterson will then debut new compositions which focus on the Mellotron in collaboration with MSO musicians. The evening will close with a premiere of a documentary featuring Memphis-based keyboardist Audie Smith.
On Saturday, April 21 at 7 p.m., Sansone and Medeski will join Kirkscey and Grant in a performance of original works for the Mellotron. Guests will have a chance to discuss the performance on Sunday, April 22 at noon at a reprise brunch that will include open discussion, a Q&A session with the performers, and encore presentations of the preview event.
This event aims to highlight the Mellotron’s role as a unique pillar in music sampling technology. The Mellotron was the world’s first pre-digital sampling keyboard, dating back to the 1960s. Each key plays a ribbon tape of pre-recorded instrument sounds. It was the precursor to the widespread use of digital sampling used in hip-hop, rap, and other contemporary music.
In April 2016, Crosstown Arts hosted a hugely popular live Mellotron performance featuring Kirkscey and Grant. That performance was recorded and made available via a limited-edition, pressed vinyl record titled Duets for Mellotron.
“We didn’t have any lofty goals for the shows in 2016, just to present a concert that we would like to see,” Mellotron Variations’ organizer Grant said. “For these upcoming performances, we want to push ourselves further by expanding the scope of our section with bigger visuals and new collaborators while also opening it up to other musicians and artists to see what they will do. Working with Crosstown Arts and getting the NEA grant has allowed us to do that.”
Biographical information:
Robby Grant is a songwriter, performer, and producer who has recorded and released records over the past 15 years under both his name and the moniker Vending Machine. He spent the 1990s co-fronting and touring the country with Big Ass Truck and currently plays with the garage pop group Mouserocket.
Jonathan Kirkscey is a composer, cellist, and producer who performs regularly with the Memphis Symphony Orchestra and Mouserocket, and is a co-founder of Blueshift Ensemble, a contemporary classical chamber ensemble. As a film composer, Jonathan has scored several award-winning documentaries including Best of Enemies, directed by Morgan Neville, and Won't You Be My Neighbor, a film about Fred Rogers which premieres in January 2018 at the Sundance film festival.
Winston Eggleston is a woodworker and avid collector of Mellotrons (he recently built one from scratch).
John Markham is a videographer and collaborates with the experimental group >mancontrol<. Together they created the oil-based light show that accompanied 2015's Duets for Mellotron performance.
Pat Sansone is a multi-instrumentalist (guitar, keyboard, percussion, harpsichord) from the bands Wilco and The Autumn Defense.
John Medeski is an American jazz keyboard player and composer. Medeski is a veteran of New York's 1990s avant-garde jazz scene and is known popularly as a member of Medeski Martin & Wood.
Robert G. Patterson is a resident composer with the Luna Nova Ensemble. Recent accomplishments include commissions from Opera Memphis, the One Coin Concert series in Osaka, Japan, and First Prize in the NATS Art Song Composition Award. In addition to his musical activities, Patterson also has been a professional software developer, and his interest in
computers led him to become an expert in musical engraving using a computer.
New Ballet Ensemble and School is a thriving after school dance program in the heart of Midtown Memphis, founded in 2001. Dancers from all over the Mid-South fill their studios six days a week, training and exploring cultural forms of dance alongside a strong classical ballet curriculum. New Ballet Ensemble was awarded the National Arts and Humanities Youth Program Award in 2014, recognizing the country’s best creative youth development programs for using engagement in the arts and the humanities to increase self-direction, academic achievement, graduation rates, and college enrollment."
"Steinberg HAlion4: http://delamar.de/news/musikmesse/ Auf der Musikmesse 2011 haben wir uns den Steinberg HAlion4 angesehen. Der Steinberg HAlion4 ist ein neuer Sampler der Hamburger Firma."
By fusing the inspiring and powerful tools of a next-generation sampling environment with the creative potential of a first-class synth engine, HALion 4 ushers in a new era in professional sound design. The hybrid character, along with in-depth editing tools and the most efficient yet flexible desktop concept ever witnessed in a virtual instrument set HALion 4 clearly apart from traditional software samplers. Add to this an outstanding range of studio-grade effect processors, a world-class library and one-of-a-kind features, such as MegaTrig or VST 3.5 support, and you have the new global standard for creative sound design.
More than a sampler
Combining the latest in sampling technology with the best in virtual analog synthesis, HALion 4 is the new global standard for professional sound design. Build complex sample libraries on the fly, create cutting-edge synths and invent your own sound — all in one intuitive instrument. Flexible user interface
HALion 4 incorporates the most efficient yet flexible user interface ever witnessed in a virtual instrument, allowing you to undock, move and resize windows, create function tabs and save entire screen sets — ideal for multi-monitor setups and perfect for keeping you focused.
Mix it inside
HALion 4 incorporates a state-of-the-art mixing engine with powerful routing options for complete control over your signal flow. There are virtually no restrictions — create an unlimited number of buses per Program and Layer and freely route the signals as desired.This way you not only achieve outstanding creative results, but also handle professional mixes without ever having to leave HALion 4. Leave your acoustic fingerprint
From precise correction to intense coloring — with a total of 44 studio-grade effect processors, HALion 4 tremendously enhances the sound designer’s toolbox. Highlights include the REVerence convolution reverb, the truly universal StudioEQ, and a captivating rotary cabinet emulation. Plus, innovative tools such as the unique morphing filter section and the FlexPhraser arpeggiator are right there to further fine-tune your sounds.
Creativity from the start
When it comes to importing and mapping your sounds HALion 4 lends you a hand right from the start. HALion 4 let’s you assign your sounds on-the-fly during the import and is even able to extract keyrange, velocity and root key parameter directly from the file name and transfers them into your program. The optimized HALion 4 mapping editor and many other workflow refinements will noticeably assist you and ease your creative process. Programming sounds isn’t rocket science — not any more
The second generation of MegaTrig in HALion 4 enables you to create advanced instrument articulations, sophisticated playing styles and impressive conditional triggering modules for innovative sounds without bothering your head about writing page-filling scripts. With plenty predefined conditions that can individually be combined, you can bring your sound to the next level. Start experimenting
The new Quick Controls of HALion 4 are ready to become your truest assistant in your sound design environment. The Quick Controls can individually be assigned to every program, layer and fx parameter to give you direct access your sounds and can also be automated in your host application to capture your creative moment. And with the unlimited undo and redo and the integrated Undo History you can try out all the amazing modulation opportunities without having regrets.
Experience perfect synergy Integration through and through
HALion 4 effortlessly integrates into various VST applications, making excellent use of the advantages each tool has to offer. The seamless integration of HALion 4 into Cubase and WaveLab and the Advanced Integration support of Steinberg hardware make HALion 4 the premier VST sampler and sound creation system. More VST than ever before
In its fourth incarnation, HALion reclaims its rightful place as today’s most powerful VST sampler by supporting Steinberg’s latest Virtual Studio Technology version, VST 3.5. With its groundbreaking VST Expression 2 feature, Note Expression, individual note events now contain their own set of controller data when played polyphonically, therefore offering you a whole new creative approach to sound design.
Production-approved system
The novel sample paradigm around HALion 4 has proven itselfthrough several of Steinberg’s latest VST instruments, such as HALion Sonic, HALion Symphonic Orchestra and the highly acclaimed The Grand 3 piano suite. With its utmost reliability and highest sound quality, HALion 4 not only meets the requirements of professionals today, but also provides the best-sounding sample engine ever to be conceived and developed by Steinberg. Quality content for sparkling results
The fourth incarnation of HALion includes a 15 gig sound library of the most detailed audio material, plus the complete sound collection of the appraised HALion Sonic workstation. With a smorgasbord of opportunities provided to you through the 1,600 factory presets to hand, HALion 4 truly covers the entire sound palette of each genre."
Good stuff about the Fairlight and the early days with the Quasar M8." [previously posted here with a pic]
Googlish:
The mother of all digital samplers comes from Australia. In 1979 Peter Vogel and Kim Ryrie built the first copies of the Computer Music Instrument (CMI): processor, screen with light pen, pressure-sensitive keyboard and sound files on floppy discs.
For the first CMI synthesizer with sampling function, the musicians had to put 1 million US dollars on the table. The proud price did not prevent its triumphant advance through the world of pop and experimental electroacoustic music. On the contrary: the Fairlight CMI shaped the sound of the eighties and nineties. Today it is a historical instrument, but some composers are still using the light pen again.
"For four decades, Akai Pro has stood at the forefront of sampling technology, from the legendary S950 to the iconic MPC platform that laid the foundation for some of the most impactful music genres in our industry. This art of sampling from vinyl evolved into a craft, enabling producers to extract sections of records, chopped and re-pitched into slices, creating an entirely new composition. Renowned producers such as The Alchemist to DJ Premier have become pioneers in this sampling art form known as Crate Digging.
With MPC Stems, Akai Pro opens Pandora's box, seamlessly integrating stems separation into the Iconic MPC workflow. This innovation not only delivers superior sound quality but also enhances the speed of the sampling process, ushering producers and beat makers into a new era of sampling creativity.
"The Diabolical Modified Casio SK-1 (Version 3) is the new and improved circuit-bent glitch monster from Diabolical Devices. Create vast sound-sacapes, unique synth sounds and total chaos, all packed inside your favorite childhood toy. The Casio SK-1 is loaded with original features, sampling capabilities, and great sounds (for what it was....) Diabolical Devices aka Class A Electronics, LLC is a leader in Professionally Modified Synthesizer and Audio Equipment, Expert Repair Services, and has a full line of Hand-Wired Tubes Amplifiers and Effects (Diabolical Amplification). Their work has been featured at NAMM, art galleries, music videos, countless tech blogs, and used by musicians all over the world, professionals and enthusiasts alike. The circuit-bending and synth mods are the work of head-technician James Gramling who has spent the last 12 years in professional audio service and electronics prototyping. Check out the new www.circuit-bent.com for updated specs, custom work questions, and new releases from Diabolical Devices.
This is the latest in our series of custom modular SK-1s by Diabolical Devices. A incredible amount of labor and materials have gone into make this one of our most extensively modified, and visually appealing SKs to date. Circuit-bent SK-1 are famous for their seemingly endless variety of unique glitches and soundscapes, we have designed the features on this SK to let you get the most out these one of a kind devices. Inspired by the MS-20 and other early modular synthesizers this is a functional art piece with amazing sounds and stunning visual effects. Hand made wooden enclosure and 100% custom panels are loaded with ultra violet LEDs which shine through patch-bay and connectors. Check out the features below. This SK is one of a kind and its specific features will not be duplicated. When no modifications are engaged this instrument will behave like a 100% stock SK-1
Modular SK-1 Features :
Solid wood enclosure: High quality construction and paint
Custom fabricated and labeled panels with LED backlighting
Bending interface: 20 point bending patch-bay using 1/8" phono connectors. When these points are linked directly using provided patch cables or routed through bending accessories a wide variety of effects, glitches, drones, and other unique sounds can be generated. Everything from playable effects to circuit-bent madness. These points also interact with the onboard LFOs and square-wave generator, as well as some CV and audio signals. Experimentation is the key to unlocking some of the most unique audio and soundscapes you will ever hear.
Bending Accessories: The bending points, and the reaction they will generate can be altered and further manipulated using the selection of patchable electronic components located next to the main bending patch bay. Features two silicone diodes, two potentiometers, and two patchable switches.
Dual LFO and Square-Wave Generator: This section serves a few different purposes. First, it's a stand alone analog synthesizer capable of some amazing pulsing and droning sounds. Second it can be patched into bending points for a variety of unique reactions, and finally the output can be patched into the SK-1's sampling line input (relocated to added panel assembly) for some amazing sampled sounds.
Main Audio Output and Sampling Line Input relocated to panel assembly. Main output disconnects internal speaker which was left in tact and fully functional.
CPU clock mod/PITCH: Added clock source generator allows for a wide range in pitch from WAY below to well above normal pitch. This modification has a bypass switch which allows you to select either the original internal CLK or added external CLK.
Master Power Switch
MIDI Retrofit: Highly Liquid MIDI input kit has been installed in this unit, the MIDI Channel select switches have been relocated to the front panel assembly for easy access.
LED color change on SK-1: The only thing actually changed physically about the SK-1 is that the main power LED was changed from Red to Blue, All other cosmetic features were left original (except for the big box around it.....). Speaker and all onboard controls work as normal, and when none of the modifications are engaged this machine will behave as a 100% stock Casio SK-1."
"The Nord Electro 6 combines our award-winning emulations of vintage electro mechanical and acoustic instruments in an ultra-portable package.
With 3 independent sound sections, a new streamlined user interface and the addition of Seamless Transitions, we're proud to present the most powerful and flexible Electro ever - a refined modern classic."
The Nord Electro 6 combines our award-winning emulations of vintage electro mechanical and acoustic instruments in an ultra-portable package.
With 3 independent sound sections, a new streamlined user interface and the addition of Seamless Transitions, we're proud to present the most powerful and flexible Electro ever - a refined modern classic.
PERFORMANCE
Seamless transitions
The Nord Electro 6 features seamless transitions when changing sounds or programs while playing.
Layer and advanced Split functionality
The panel has three independent sound sections; Organ, Piano and Sample Synth that can be used simultaneously as a layer or a split. It features 6 Split Points and the new Split Point Crossfade functionality introduced in the Stage 3 for smooth transitions between the two split zones. Choose from 3 different crossfade widths (Small, Large or Off) as indicated by different LED colors.
Refined Program Section
The new streamlined Program section features a handy Organize mode including Copy/Paste and Move functionality for quickly arranging your Programs to your desired order. A new Page View lets you easily sort and organize pages as a song list.
Performance Highlights
3 part multi-timbral NEW
Seamless Transitions for smooth program changes NEW
Simplified, streamlined user interface NEW
Split and Layer all 3 sections NEW
6 Split Points with optional Split Point crossfades NEW
Organize Mode for quickly arranging programs, sounds and pages NEW
OLED display for Program section
ORGAN SECTION
The Nord Electro 6 features our award-winning Nord C2D Organ simulations of B3 Tonewheel and Vintage Transistor Organs plus two Pipe Organ models. The Organ section also includes our latest vintage 122 Rotary Speaker simulation.
2 Pipe Organ models
The Organ section now contains two different Pipe Organ models. The new Pipe 1 is a pure Organ with few harmonics. The Pipe 2, introduced with the Electro 5, is a recreation of metal pipes that commonly make up the backbone of a pipe or church organ, and now includes a special new detune mode when enabling Vibrato/Chorus.
Dual Organ Mode
The new Dual Organ mode provides quick access to dual manual setups and offers great overview and control of the drawbar settings for both the Lower and Upper manual.
Physical Drawbars for Electro 6D 61/73
The Electro 6D 61 and 73 feature Physical Drawbars offering ultimate hands-on experience for the dedicated organ players. These models also support the Nord Half-moon Switch (optional accessory).
Organ Highlights
B3, B3 bass and Vox/Farfisa simulations from Nord C2D
2 Pipe Organ models NEW
Dual Organ Mode NEW
Vintage 122 Rotary Speaker simulation
Physical Drawbars for 6D 61/73 models
PIANO SECTION
The Piano section has a wide selection of acoustic, electric and digital pianos from the exclusive Nord Piano Library, expanded voice polyphony and creative new Piano Filters.
Factory Bank
The Nord Electro 6 factory bank contains an extensive selection of our latest Grands, Uprights, Electric Pianos and Digital Pianos from the exclusive Nord Piano Library - all handpicked for their unique characters! The Piano section also features our new “Layer” category with rich dynamic layered patches.
The Nord Piano Experience
Nord’s state-of-the-art sampling techniques capture the extraordinary nuances and real character of the source instruments and unique ‘Advanced String Resonance’ delivers breathtaking realism and an unsurpassed level of expressiveness.
Replaceable sounds
The Factory Bank features an extensive selection from the Nord Piano Library but you can easily add or replace any of these sounds using the Nord Sound Manager. Our exclusive Nord Piano Library is constantly updated with new unique sounds, and always free of charge.
Piano Filters
Providing an additional level of sonic control, the Piano Section now features dedicated piano filters for accentuating softness, mid or brilliance.
Piano Section Highlights
1 GB Memory
Expanded polyphony NEW
Creative Piano Filters NEW
Advanced String Resonance
4 Dynamic Curves
SAMPLE SYNTH SECTION
The enhanced Sample Synth Section features expanded memory for the Nord Sample Library 3.0 and extended polyphony.
The Sample Synth Section contains a broad selection of high quality sounds from the Nord Sample Library 3.0 including the exclusively licensed sounds of the legendary Mellotron and Chamberlin.
The Sample Synth is equipped with essential controls for attack, decay/release and dynamics (filter/velocity). A unique Nord feature allows you to create your own samples using the free Nord Sample Editor software for WIndows and Mac.
Sample Section Highlights
512 MB Memory (doubled from Electro 5) NEW
Expanded Polyphony NEW
Attack and Decay/Release controls
Dynamic control (filter/velocity)
EFFECT SECTION
The powerful Effect section features a wide range of instantly tweakable high quality effects modelled after classic stomp boxes. All effects are stereo and can be assigned freely to the Organ, Piano or Synth sections.
The Nord Electro 6 Effect section includes Tremolo, Phaser, Chorus, Pan, Wah, RM, Flanger, Vibe and Reverb with a new Bright Mode.
THREE MODELS
The Nord Electro 6 comes in three models:
Nord Electro 6D 61 features a 61-note Semi Weighted Waterfall keybed (C-C) with Physical Drawbars
Nord Electro 6D 73 features a 73-note Semi Weighted Waterfall keybed (E-E) with Physical Drawbars
Nord Electro 6 HP features a 73-note Hammer Action Portable keybed (E-E) with LED Drawbars
AVAILABILITY
The Nord Electro 6 is scheduled for shipping in Spring 2018 with pricing to be announced. Nord Electro 6 is handmade in Sweden by Clavia DMI AB.
All specifications are subject to change without further notice"
