The independent game Osmos won our hearts in 2009, with transcendent, meditative gameplay built on simulated particle physics, starting as a floating wonderland and ending with some deliciously punishing difficulty. But it’s the soundtrack that sealed the deal: ambient-tinged work by artists like Gas 0095, Julien Neto, Loscil, and High Skies helped us imagine an unseen, microscopic (or perhaps macroscopic) world. Their sonic craft is a great example of what digital music can be.

Now, I’m pleased to offer a lot of that music for your listening pleasure, for free. It’s one of the rare game soundtracks you’d want to hear even after having heard it on repeat while solving some of the title’s trickier puzzles. A huge thanks to the artists, whose generosity made this compilation possible – check out their work if you haven’t already.

The release is overdue, but it comes at a good time. By the end of last year, Osmos migrated from its initial, Windows-only release to Mac, too. Owners of multitouch PCs have been treated to a multitouch version on Games for Windows Live. (I’m still working on loaning a multitouch laptop; stay tuned.)

The most recent news, as seen on Synthtopia and the Microscopics blog: an iPhone version of Osmos is coming soon.

If you’ve already gotten the game but got stuck on Epicycles (ahem), we have a solution for that, too – see the recently-released video from the game developers, who must have heard your pain. (Man, in my day…)

We have two formats for listening:
MP3 for download
M4A extended podcast with visuals and chapter markers
(sadly, there seems not to be an open format for doing this, and one of the only creation tools is GarageBand – I’d love to hear alternatives)

Featured music:
Vincent et Tristan – Osmos Theme (two excerpts)
Gas 0095 – Discovery
Loscil – Lucy Dub
Loscil – Roschach
Loscil – Sickbay
High Skies – The Shape of Things to Come
Julien Neto – From Cover to Cover
Julien Neto – Farewell

And yes, that includes the most-definitely-unreleased samples by Vincent et Tristan, which are short but quite beautiful.

If you want still more music, the fantastic High Skies EP Sounds of the Earth is free for Osmos customers.

More from Mat / Microscopics, including an improved, higher-quality papercraft Minimoog:

I’ve just added a prize draw to win the Minimoog and the Gas 0095 collection on my blog for the Gas 0095 15 year anniversary
http://www.microscopics.co.uk/blog/2010/gas-0095-15-year-anniversary-collection-giveaway/
And I have a Gas 0095 Q&A and have set up a page for people to submit any questions (also via Facebook and our contact page).
http://www.microscopics.co.uk/blog/2010/gas-0095-questions-for-answers/

I’ve also added a new short video of a microscopic journey into the Gas 0095 album art
http://www.youtube.com/watch?v=EYM1_9-HzSI&hd=1

Finally, if you haven’t read it yet, don’t miss our interview with the creators of the game; it offers inspiration that is musical as well as gaming- and design-related.

Completing F3C-3 (Epicycles 3) from hemisphere games on Vimeo.

Trifonic: Editing Beats – Part 1 from Next Step Audio on Vimeo.

No more secrets: that could well sum up the zeitgeist of music making in 2010. So it is that Trifonic, aka virtuoso beatmeister brothers Brian and Laurence Trifon of San Francisco, share their technique for chopping up and glitching out audio. Their new blog, Next Step Audio, is entirely dedicated to sharing their production techniques:

http://nextstepaudio.com/ [site slightly erratic response-wise for me at press time]

The video tutorial on beat editing, published by Next Step Audio, starts out generically enough: grab the ubiquitous “Amen break” as a sample, load it into Apple’s Logic Pro, slice it by beat and adjust to transients, gate… but Trifonic explains how they take the results further, drawing envelopes for modulation and winding up with something far removed for the original. Of course, if you’re fatigued of the “Amen break,” you could apply the same technique to samples of your own playing, and you could substitute your DAW of choice, from Live to Pro Tools, for the editing.

Part of what makes this tutorial compelling is that the duo has a distinctive musical identity, rather than being the anonymous, all-knowing voice music tech instructors had tried to be in the past. It’s worth checking out their music, too. Digitally-distorted, glitching beats had threatened to become a tired cliche years ago, but Trifonic combines those sharper digital timbres with rich, warm layers of sound. The shifting textures of the video for “Parks on Fire,” a big single for them, matches that musical structure perfectly in visuals. (The video is the work of the terrific Scott Pagano, an LA-based visualist.)

There’s plenty more music to share, too, and you can even grab a free Trifonic bass patch for Logic’s EXS24 and Native Instruments’ Kontakt 3 (or compatible samplers, which includes just about everything).

You can grab a free MP3 of Trifonic’s “Transgenic” in the “Rust Mix”:

And Trifonic are regular contributors to ccMixer, the Creative Commons-licensed remix site. They’ve got loads of work under an attribution / non-commercial license. That has, in turn, encouraged a crop of remixes of their work, which seems in keeping with the techniques they’re espousing.

(See my rant last week for some concerns about the non-commercial license relative to images. It’s less of an issue, I think, with samples, but I do hope to connect with the CC folks soon and talk on CDM about the relative advantages of Non-Commercial versus ShareAlike or some combination.)

http://ccmixter.org/people/trifonic

In part two of the beat editing tutorial, Trifonic go further with glitching and special effects.

As noted by commenter Bryan Gilstein, “It doesn’t matter, we’ll go nuts with it.”

Amen, brother.

Trifonic: Editing Beats – Part 2 from Next Step Audio on Vimeo.

Trifonic have a bass patch sample that they share for free, too, in EXS24 and Kontakt 3 formats. It’s a wobble bass, yes, but with a few nice twists.

Good music, good production tips – I’m sold. (Now, is anyone else aside from me thinking about how these techniques could become real-time / live instruments?)

Lots more Trifonic at the artists’ website:
http://www.trifonic.com

See also:
Tirfonic @ rcrdlbl [free music]
Trifonic @ Last.fm

…and I’ll see them next week in LA, where I’m sharing a big bill with them at the unofficial NAMM afterparty (more details on that soon):
http://whambamthankyounamm.com/

The days (in the Northern Hemisphere, at least) have grown shorter, so it’s time to put in some extra hours working on music production. Native Instruments have released a big selection of synthesis sounds, sampled instruments, and multiple effects in a free, Kore Player-based instrument, in case you haven’t already heard the news via NI’s site. While they’re presets, there are enough macro controls and variations that, combined with your own effects, you can certainly make these your own. And if nothing else, you can drown out the sound of overplayed holiday picks – just make yourself a soundscape, put it on your iPod or phone, plug in those earbuds, and have a Very Spaced-Out Holiday instead.

Holiday Selection 2009

Incidentally, Kore Player works just fine for me on Linux using WINE, as do NI’s own audio interfaces, so you can even spread the goodness to the penguin-themed operating system.

Looking at the monome hardware, it could be difficult to understand how a simple array of buttons has become the most important musical design of the decade. It’s been the software that has brought this to life, not least the work of stretta (aka Matthew Davidson).

In the early days of electronic music, the creation of modular systems for synthesizing sound was a major breakthrough. Today, we can produce modular systems for composition, for assembling the music itself. And in a world in which “more” is the key word, many of these systems, by design, do less, focusing on the essential.

stretta reached a major landmark late last week, with the release of the maxforlive monome suite. It’s a set of seven Max for Live devices, with variations, which can be dropped into Ableton Live for use in musical projects. But it’s also more than that – it’s a modular model for how stretta thinks, and each module is designed to be used with the others, all without ever having to take your hands or eyes off the monome controller. Included in the pack:

• obo matrix step sequencer
• pitches for playing notes on the monome
• polygomé 64 for polyphonic, step-sequenced, transposing pitches
• press cafe for repeating patterns of pitches
• spectral display for blinking lights to visualize sound
• step filter step-sequenced filter bank
• automatorgator MIDI- and audio- and OSC- controllable pattern gate

Details and download link (no explicit license coming yet, but Matthew has promised an open license):

maxforlive monome suite released

I got the chance to talk to Matthew about the project, how he created it, how to approach using it, and what it was like working with Max for Live.

All photos by Matthew Davidson; released under a Creative Commons attribution license. Click the images for full-sized versions.

CDM: Can you talk a little bit about what these modules are, and how they fit together, for someone who hasn’t seen them before?

stretta: Obo is like tonematrix as a MIDI plug in. I like analog sequencers because they are tactile. They’re limited, though, so the natural tendency is to add memory to them. I’ve never enjoyed the experience of an analog sequencer with memory. As soon as you add memory, the fun evaporates. You can’t tell where the data matches the knobs, you’re looking at LCD menus… bleah. I’m not saying obo is the answer, as it is a very simple device, but obo (with a monome) does provide a pleasing combination of tactile control, visual feedback and multiple patterns.

Pitches turns the monome surface into a MIDI device. Press a button, get a note. The only issue to resolve is how do you map notes across the grid? One of the first things I did with my monome after I got is was create a pitch grid in columns of fourths and chromatic rows, much like a guitar, but more like a touchstyle instrument like a Warr guitar. I liked the strict grid as it made the geometry of harmony completely portable. The pitches application allows you to customize the interval relationships of the rows and columns and optionally add a modal scale filter on the output so it is pretty much impossible to produce a ‘bad’ note.

Polygomé is one of those things that is most easily explained to people by shoving a monome in their hands. It is kind of like if you took ‘pitches’ and added a step sequencer. You recall the sequence by pressing a button, the sequence is transposed based on which button you start on. Then you can play the sequences polyphonically. Polygomé grew out of this massive, overly complicated project for the 256 I was working on called gomé. The idea was you’d create these geometric patterns then define a ‘path’ or vector across the monome surface that they’d walk across; kind of like how gliders move in the game of life. I was describing this on the monome forums and someone said, "boy, I hope you make this so it works on the 64." I didn’t think there was enough room on the 64 so I re-thought the idea and polygomé was born.

Spectral Display is a non-interactive device that turns the monome into a graphic… well.. spectral display. I developed Spectral Display from vu_spec by [monome creator] Brian Crabtree so this is all his brilliance on display. I merely adapted it to maxforlive.

Press Cafe is another MIDI instrument. The original brilliance of the monome is the fact that the buttons are completely decoupled from the LEDs. Nobody had ever produced a device that did that before. There was always some internally programmed or proscribed functionality that was never entirely suitable for much of anything. So I brainstormed about various ways to leverage this unique ability. Press cafe is a pattern trigger sequencer. It works on any size monome, but if you’re using a 256, you get 16 rhythmic patterns of 16 notes. The rows select which pattern you’re triggering and the columns select which note you’re playing. Naturally, you can use the monome surface itself to edit the patterns.

Step Filter is eight independent sequencers, each triggering a band pass filter. The sequence is edited directly on the monome surface. The real fun begins when you start specifying various loop lengths for each of the filters so they loop independently. You can have one band looping in 7, another lopping in 6, etc…

automatorgator comes in two flavors. One is a MIDI plug in that produces MIDI and OSC automation. The output can be smoothed or stepped. The audio plug-in produces gating effects, or cyclical amplitude modulation.

CDM: What was it like working with Max for Live? How did that impact the way you work?

stretta: I’ve always wanted something like maxforlive. Max lacked a powerful timeline. Most DAWs lacked user-directed internal customization akin to a modular synthesizer. I think this is important for a DAW because it is impossible to be all things to all people. I’d hesitate to say much more because my experience with maxforlive is limited to a couple months thus far and there is so much yet to explore. I would be seriously happy for years on a deserted island with this tool, provided there was some mechanism to share my work with others.

Max 5 brought some concepts like a global transport and the ability to specify time values in a metric-centric way. So, instead of milliseconds and samples, you can think in terms of quarter notes and eight notes. Then maxforlive brought all this inside of a functional DAW which made everything more powerful. It is one thing to be able to manipulate audio like play doh. It is another to be able to do it inside a real production environment, using musically-sensible units.

So, maxforlive is a huge leap forward, but the needs of the monome community were a bit more dire. There are applications for the monome that are functional enough to produce a complete musical statement in real time by itself. A good example of this is mlr. You don’t need anything else. My monome applications are not so clever. I never intended for anyone to sit down and try to express something using polygomé in isolation. I figured it would be one tool you’d use in the context of a greater whole. The problem with this is it relegated polygomé and others to the recording studio.

What the monome needed, was, in my opinion, a meta environment that could host multiple monome applications, ensure they were all running in sync, and switch between them on the fly. It would route audio, host virtual instruments, mix everything and add effects. Then you could save a setup and recall everything by opening a single file. If that could be done, then the monome is transformed from this monolithic standalone device, to a piece of integrated performance hardware.

CDM: Many people are now getting started with Max for Live. Any tips for new users?

stretta: The best tip I can offer so far is adding '---' before any data objects. On run, the --- is turned into a unique identifier so the instance is unique. This allows multiple instances of the same maxforlive device with access to their own data. Of course, you may not want to do this, you may want to retain the ability for multiple maxforlive devices to ‘talk’ to each other and share data which is a cool feature. I’ve uploaded a example patch detailing this at the monome wiki called ‘thisinstance’

http://docs.monome.org/doku.php?id=app:thisinstance

CDM: What if someone is interested in this download, but they don’t own a monome? Is there anything they can do with this pack without the hardware?

stretta: Not much. The only application that operates monomeless is obo. However, there may be enough about obo that is interesting to people to justify the download.

CDM: You should be able to adapt to other controllers, though, with some work – correct?

stretta: Sure, it really is simply a matter of tapping into the matrixctrl object and routing to whatever device. My stuff rarely makes use of monome-specific protocols like ledcol, but I’m doing more of that recently for performance reasons.

CDM: Have you seen other Max or monome work that has inspired or impressed you?

stretta: 7up [SevenUpLive 2.0] is an amazing piece of engineering, although it is mostly Java wrapped inside a layer of maxforlive. Buffer Shuffler was the first example that really blew my mind, and the cool part about this is you can open this stuff up and see how it ticks. When I opened up Buffer Shuffler, I was amazed at how little there really is to it, which says a lot about the level of sophistication of the max objects themselves. I still haven’t explored or opened all the devices that are included with maxforlive. It is a simple matter to lift small sections of max code and repurpose it. It is really early on in the life of maxforlive, so I anticipate the learning process to continue and expect to see more interesting creations as the ideas cross pollinate and everyone starts editing everyone else’s work.

Thanks to Matthew for these thoughtful answers. If you have follow-up questions, definitely let us know. And we’ll be interested to see how you work with these tools, or modify them in your own work.

For the latest, be sure to check out stretta’s blog, The Stretta Procedure:

http://stretta.blogspot.com/

maxforlive: monome integration from stretta on Vimeo.

maxforlive: obo from stretta on Vimeo.

The plug-in is free through Wednesday, and then costs US$79 after that.

What you get from the M30:

• VST, AU compatibility on Windows and Mac
• Hall algorithm (no Room or Plate, though – for that, you need the M40 which ships with TC’s audio interfaces)
• Editable parameters for pre-delay, decay, “hi color,” and the requisite wet/dry mix

It’s nothing revolutionary, but I’m always game for a nice Hall algorithm. Interestingly, TC has worked out a way to port their native DSP code from hardware to computer-native code using something they call AlgoFlex. (Out of context, that sounds like some modern-looking lamp at Design Within Reach, or maybe that’s just me.)

M30 Studio Reverb

Free Reverb Deal

The veil between the living and dead is growing thin, and I… uh, have some free music for you. Sorry, it turns out I don’t have a clever lead for this story, and my segue makes no sense. So let’s get to it!

Friend of the Site Liz McLean Knight aka Liz Revision aka Quantazelle of subVariant has put together a special, exclusive mix for CDM of 117-119 bpm musical goodness, excavated from the “_blippy” folder of sketches on her USB drive. Matt Moldover, who has been working on his CD-as-electronic-instrument album, lent his laptop. (Watch him assembling CDs in the video after the break.)

It’s all in celebration of a Halloweeen party Saturday night in Chicago, headlined by Josh Davis (BitShifter). Party ringleader Liz joins Josh on behalf of subVariant to represent the IDM-glitch-minimal-tech-house side of things, and Mr. Automatic (Front 312) and Onefiftyone (Chicago Workshop) will be joining in. If you’re in Chicago, this looks like the place to spend your Saturday. If, like me, you’re not, well, we have some music and videos for you to bring the party home.

Chicagoans:
Going.com Chicago event link + discount
Presale tickets on FractalSpin

And yes, while Josh is working on Game Boys in 8-bit, our CDM mix is fully 16-bit, baby! I’m telling you, 16-bit is totally the future.

Download MP3

Now, for a bit of Josh tearing it up in glorious 8 bits:

Bit Shifter – March of the Nucleotides from 2 Player Productions on Vimeo.

Bit Shifter // Blip Festival 2006: The Videos from 2 Player Productions on Vimeo.

Bitshifter did an interview recently with Chaos Control, for more on his performance techniques and inspiration.

And here’s a video of what Moldover was up to as Liz perfected her mix on his laptop — assembling special-edition versions of his CD, which, thanks to custom electronics in the jewel case, can double as noisemakers instead of just packaging. (See our previous story.)

It’s nearly Election Day again here in New York. But it’s also Musical Election Day worldwide for the Efficient Music Competition with CDM, portable Linux-powered studio Indamixx, and modern tracker Renoise. In an age when technology tends to mean more, these artists are making music with less, carefully optimizing Renoise-powered tracks to operate well on lesser CPUs. Now’s your chance to hear the fruits of their labors, and register your vote. (And because these are Creative Commons-licensed, they’re free to share and share alike, too.)

Here’s what to do:

1. Head to the Renoise-hosted official competition site.

2. Sign in to your Renoise forum account, or register for a free account if you have not already. (This is just a forum account; the Renoise folks won’t be spamming you. Having the account gives you the ability to discuss the songs and pick up some Renoise tips, too.)

3. Give the tracks a listen. You can download them all at once in XRNS format and play them in Renoise – a free demo will do the trick. Alternatively, click the “plus” icon to expand the song for more details; most include an MP3 preview you can listen to on-demand (a good way to browse the tracks, especially on a machine that doesn’t have Renoise installed).

4. Drag and drop to vote. Drag the song from the list down to the voting box at the bottom, then reorder them in order of which you like best. You can vote for multiple songs, but whichever is listed higher in your list will be “weighted” better, so pick your favorites, then choose your favorite favorites.

5. Save your votes! You can adjust your list, add additional entries, and change your mind – just be sure to save each time.

6. SUNDAY, NOVEMBER 8 is the deadline for voting. Whatever you have listed as your votes then is final.

The forum will be the official venue to discuss these tracks. Of course, I’m also curious to hear on comments – what do you think of these entries overall? Those of you who worked on tracks, what was the experience like having to optimize for limited system resources?

Awesome as Renoise is, I also wanted a place for lovers of all trackers to come together, so I’ve created a new group on Noisepages:

I <3 Trackers [noisepages.com]

Sign up, join in, and we can talk about tracker technique and tools in general. (For instance, I’d love to get a workflow going working on a tiny tracker on the go, then bringing that work into a netbook or laptop running Renoise.)

What if, between the original classic Tron and the upcoming Tron 2: Legacy, there were another Tron movie, lost forever in cinematic history? Between the soaring score by Wendy Carlos for the original and Legacy’s Daft Punk music, what would the soundtrack have sounded like? Of course, it would have absolutely had some Journey in it.

Such a movie was rumored, but as with so many projects, leaves behind no evidence. What if it had left a score you could hear? The mysterious “Flynn 1.5″ writes to share a free, downloadable soundtrack that answers that question.

And you can argue with an album that begins out with “For the Love of ENCOM”? Indeed. You can stream the full album and download all but the Journey remix. Read the full “backstory” after the jump.

Tron moniker or no, the results are some lovely music, featuring the likes of Tiger Mendoza, Team9, artist and CDM regular reader Lilith The Kitten, and ringleader World Famous Audio Hacker, among others. (Trivia – Tiger Mendoza has his own, Creative Commons-licensed album, and Team9 earned notoriety for a mash-up collaboration with Green Day.)

In late 1998, I was commissioned to compile and produce the soundtrack for a sequel to the film “Tron”. A draft of the story had already been written and early filming had begun (as reported by ZDNet on July 27, 1999). As I understand it, the film was kept in great confidence with the producers as Pixar was still in negotiations with Disney about the responsibilities of the production teams.

“Rise Of The Virals” was a fantastic, but much darker storyline from the original — different from the “Into The Machine” pitch made to Disney by another party. It involved updating the ENCOM universe to a networked system (thanks to the Internet), but also created a darker world — full of programs abandoned as buggy systems (or “mutants”) and abused by corrupt users as viral systems. Furthermore, the story included the death of Flynn and presented questions about the digital life of programs lasting beyond the mortality of their creators — the users.

My task was to compile great underground artists to create a new soundtrack for this darker world of Tron. After the completion of the initial tracklist and first production draft of the soundtrack, it seemed as if negotiations between Pixar and Disney had broken down. Funding for the project was eventually pulled.

I have been most excited to see the announcement of the third film, the new “TR2N” (Tron: Legacy), especially with the involvement of those who will be creating the new soundtrack. It is obvious to me that “Tron: Legacy” takes place after “The Rise Of The Virals” without abandoning its first concept. Perhaps that is why we’ve seen sites like Flynn Lives creep up in anticipation of the new film.

I’ve decided to release the preliminary version of the soundtrack which includes a special remix of Journey’s “Any Way You Want It” produced specifically for “Rise Of The Virals”. Journey provided two songs to the original “Tron”, and their song “Separate Ways” will reportedly be on the “Legacy” soundtrack as well. In any case, since the story of “Rise Of The Virals” takes place between the first “Tron” film and the upcoming “Tron 2: Legacy”, I can’t think of a better title for this material other than “Tron 1.5″. I hope you enjoy the music these artists have put such great work into.

– Flynn 1.5

Tron 1.5: “Rise Of The Virals”
(Digitally Remastered)

1. “For The Love Of ENCOM” (4:16) (Team9)
2. “Askew” (5:08) (Solcofn)
3. “Build A Better Lightcycle” (3:24) (Tiger Mendoza)
4. “Rise Of The Virals” (3:37) (World Famous Audio Hacker)
5. “Any Way You Want It” (4:30) (Rhythm Scholar Syntax Error Remix)
6. “Electro City” (5:24) (Lilith The Kitten)
7. “March To Silicon Palace” (3:34) (Future Sound Of Tron)
8. “Lora’s Theme” (4:34) (Team9)
9. “Technojazz” (5:56) (Solcofn)
10. “Love Theme” (4:11) (Tiger Mendoza)
11. “Paranoid Space” (2:45) (Tiger Mendoza)
12. “T128.Flynn.FK@yf” (6:30) (EBNC)
13. “Core Dump” (6:01) (Lilith The Kitten)
14. “Means To An End” (8:00) (Solcofn)
15. “Theme From Tron 105″ (1:26) (Carl Walters)

The full album is available for free download at http://tron.fm/

The Covert Seq – Creating patterns and Presets from Bjorn Vayner on Vimeo.

The Covert Operators and Bjorn Vayner have become my favorite go-to source for wild Ableton Live hacks. And even before the release of Max for Live, Bjorn has built some terrific, simple step-sequencers using Live’s Racks feature. That’s just the Racks feature – no Max patches or hidden features anywhere to be found. Sure, I suppose the clip view itself can be seen as a kind of step sequencer, but this gives you a unique way of generating sequences.

If you just want to begin playing with step sequencing in Live, Bjorn has a new download, aptly called The Covert Sequencer, as seen in the video at top. It’s free, it’s fun, it celebrates the 5th Anniversary of Covert Ops and the 10th of Ableton Live (good grief!), and it’s all voodoo built with dummy clips and MIDI effects.

Full post, downloads, and video tutorials:
The Covert Seq [The Covert Operators]

If you want to try your hand at the ninja skills behind all of this, Bjorn posted a screencast back in August revealing his secrets:

Making a Step Sequencer in Ableton Live. from Bjorn Vayner on Vimeo.

And if you like this sort of thing, definitely don’t miss The Covert Operators’ exclusive creation for CDM, making elaborate use of the racks and slicing features of Live 7 and later:

Exclusive: Free Ableton Live Slicing Pack by Covert Operators

Slice of Winter from Bjorn Vayner on Vimeo.

Nick Maxwell of the excellent Nick’s Tutorials Ableton Live production site shares some free explorations with us, complete with downloads you can reverse-engineer the instruments and play with the topics the video cover. You can also use these in your own work, royalty-free.

I really like some of the work here, from a kitchen knife to a found sound bass. Here’s Nick:

“Icy Shimmer” Effect

In this video, I use a few field recordings of a kitchen knife being unsheathed as well as a door closing as the layers for the eventual sound effect.  Basic things like reversing the waveforms, filtering , panning, and retuning are employed.  I also go beyond that into some more interesting stuff like using a grain delay, simple delay, and an autofilter to create a little effects section to further realize the sound.

Download

Two Drums Created From Samples

In this video I use field recordings to create a kick drum as well as a snappy percussion sound. Some of the techniques include pitch and filter enveloping, working with non-zero crossings to create an interesting attack for your drum, layering samples, and more.

Download

“Jungle-Bass” (2 Parts)

In this video I use field recordings to create a bass patch that might be used in a Jungle or Drum’n'Bass production. I go over some basic intermodulation between LFO’s, describe the Saturator effect’s controls, use the morph parameter to create an interesting filter curve, and more. Additionally, I show two effects that were released with Live 8: The Limiter and the Frequency Shifter.

Download