Dedicated wave editor Audacity has found enduring popularity, as a free and open source tool for working with sound. It runs on Linux, Windows, and OS X – with support for older Mac operating systems, which these days is sometimes tough to find. But just being free and open isn’t reason enough to use something, particularly when a lot of DAWs do a pretty decent job of wave editing.
This latest version of Audacity, 2.1.0, comes with some additions that might make it worth revisiting.
First, there’s spectral editing. In most software, audio editing is performed by time only. Here, you can drag over particular frequency ranges to select just those portions, for audio repair or simply highlighting certain portions of sonic content. That’s been available in some commercial tools, but it’s not normally found in DAWs and now you get it for free. See the spectral selection additions to the manual.
Second, you can now preview VST and Audio Unit effects (plus the open LADSPA format) in real-time. That’s useful for making Audacity an effect host, and can combine nicely with chains and batch processing. That is, you can preview effects live to adjust them (as you can do in a DAW) and then batch-process a bunch of sound (which your DAW can’t do easily). Plug-in hosting in general is improved, including the ability to work with multiple VST and add any effects to chains.
Audacity still isn’t the prettiest software ever (ahem) – aesthetically and functionally, it seems the UI is due for a reboot. But I know it’s an important tool, especially for musicians on a budget. And this version is worth adding to your toolset.
It isn’t as full-featured as Audacity – real-time effects preview is limited to VST, for instance, and the spectral view is not editable. It’s also free-as-in-beer; the code is closed. But the UI is substantially cleaner, and it has some nice features like multi-edit support. Thanks to Tom D in comments for the tip.
It looks like a spaceship control panel, and has the futuristic sound to match. Borderlands Granular already set a high water mark for how touch could open up new possibilities in sound creation. With a new version adding live input and more control, though, its latest release may be even more significant than its first.
Granular synthesis, which treats recorded sound as a fluid construction of tiny grains, needs an interface to realize its power. It’s not something that can be understood by turning a single knob. It’s defined by the sounds you put into it, by the way you warp them through time.
And there are few techniques in sound as well-suited to touch interfaces than this one. A tablet provides a window onto what you’re doing, as well as a means of getting a variety of parameters under your fingertips.
Chris Carlson’s Borderlands Granular already demonstrated how gestures could navigate the potentials of granular sound design on the iPad. Arranging your sounds onto a visual canvas, you can use gestures both to find your way through the sounds and to control playback parameters. It’s a musical instrument, yes, though in a way that can only be possible digitally. Your hands are a mechanism for manipulating a sample.
Borderlands Granular was already a triumph, but version 2.0 adds major new dimensions by opening up input, workflow integration with other apps, and new parameter and scene control functionality.
The modular craze just won’t stop. But why should keyboardists and sound tweakers have all the fun? Pittsburgh Modular wants to bring the revolution to guitar stompbox effects.
The Patch Box, teased over Twitter and due at April’s Musikmesse in Frankfurt, Germany, is an attempt at that solution. Basically, instead of being a Eurorack bay for your shelf or desk, this is one designed for the floor, to be played by a guitarist or bass player.
At the bottom, you get the usual switches. But apart from accommodating Eurorack modules (on their side) on the floor, the key appears to be loads of patch points. So you have, on the top, 14 additional connections for modular control from your feet. They’ve also released some teaser shots with some of their own modules in the bay, but it appears you can use anything you want. Continue reading »
We all know the problem: DJing with computers isn’t terribly practical without looking at the computer – a lot. Native Instruments’ Traktor S8, like Maschine before it, promised to liberate laptop users from that vacant computer stare. But it, and rival offerings, have a big problem: they’re back-breaking, checked luggage-triggering, tech rider-rewriting huge.
Well, you probably already worked out the S8 “flagship” wasn’t going to be the only hardware from NI to play with this concept. The question was, what would a “half-S8″ / “S8 mikro” / “S8 deck” look like.
If you happen to be a big fan of the artist Uner, and were staring at your screen to watch the NI live stream, you just got a glimpse of exactly what it’ll look like. Native Instruments handed over the new hardware to some of their artists with the cameras rolling live to the Web.
We grabbed some images from the live feed overnight. It actually provides a fairly clear view of the layout and sense of approximate size of the controller. (NI’s design guides for knob clearance and so are so particular that you should assume dimensions here are what they look like on the S8.)
We also know, via Uner’s Facebook, that the box is called the D2. (Logical name. D for deck. 2 for… well, it’s the size of the Z2, and less than the S8. Also, you can see two decks at once, even if there are four controllable.)
Hand-built in the Czech Republic, Bastl Instruments are something special.
And tonight in Berlin, the Bastl Instruments creators showed their new modulars in public for the first time, in advance of showing them at Musikmesse. At an informal demo event hosted by legendary synth boutique Schneidersladen, the creators gave us a window into what they’ve made.
Fans of increasingly-popular Euclidean generative rhythms will appreciate this demo on their sequencer module:
It’s the motorized rotating pillar of Eurorack modular synthesizers from Berlin’s Schneidersladen, which served this evening as backdrop to an excellent workshop from the boys of Bastl Instruments of the Czech Republic.
And, well, we’re not sure what happens to your brain if you keep watching this. Here, seen at twelve times normal rotation speed, thanks to Hyperlapse and my iPhone. This being Berlin, you can get this and falafel within a fairly short walk.
Can you design a drum machine that does more than simply hide its workings inside an invisible box?
XOXX Composer does just that. A project by Axel Bluhme, it turns the inner functions of sampling, looping, and sequencing, into tangible, kinetic, sculptural form. Wheels turn. Magnets trigger sounds. And in what looks like the love child of a 606 and a player piano, you get a mechanical take on patterned sound.
A drum machine that is fun and easy to use
This project started with a curiosity to understand when, why and how people take their first steps into producing music. The goal is to inspire and allow this exploration even though there might be lack of confidence or knowledge.
A tangible sound arranger that uses magnets to activate sound samples and that is very easy to engage with. Capture sounds from your surroundings or sample records, simply let curiosity and creativity lead the way to quickly create unique beats.
The physical interface is made up from eight rotating discs allowing the user to layer up to eight different sounds.
Each set of eight discs are colour coded and each individual disc in the set has its own pattern so as to allow the user to create their own mental system and means of organising their sounds.
Every disc is quantised into four bars, which is indicated by the coloured lines on their faces, and each bar is divided into four steps. That means every disc has sixteen steps which allows the user to explore a variety of different music styles and degrees of complexity.
The project will be shown at Ugly Duck in Bermondsey (London), as part of a collaboration between Sonos and the Royal College of Art.