Celemony’s flagship Melodyne audio editor has long been reaching past the limits of what most people imagine as pitch correction. It was clear the mission of the software was no less than seamlessly transforming audio – shaping sound as directly as you can MIDI notes. Well, now it’s gone even further. Now we’re not just talking about moving polyphonic notes around. In Melodyne 4, we’re talking reaching into the spectra of polyphonic sound material itself. It’s like playing God with a recording.
Urs Heckmann just combined “reverb” with “experimental, possibly sonically unstable plug-in with unpredictable results.” And it’s free. Urs – how did you know exactly what I wanted for Christmas?
IRCAM is Paris’ legendary research center. It’s the place where the original Max was born, and it’s still a hub for some of the brightest minds in sound in the world. IRCAMAX 2 is a new set of effects and instruments for Max for Live. And it does some amazing stuff – though maybe the best way to demonstrate that is not to explain, but to let you listen. They’ve made not just demos but some beautiful music, via artist Najo:
With a little setup, you can integrate a hardware synth with Reaper as if it’s a software plug-in. Check out the video tutorial from The Reaper Blog to see how. Reaper is a terrific “indie” DAW for the budget-conscious. Just $60 buys you an individual personal license with a bunch of free upgrades. (“Commercial” use is described as anyone making more than $20k a year – plenty of very serious musicians make less than that.)
Fans of northern sounds and nordic mythology, cock your ear for another label discovery. Nordanvind is the vinyl imprint of Swedish artist Fjäder. We profile the artist, the label, and then talk to Fjäder herself. Let’s first let her put us in an evocatively occult mood: In the eye of the storm Mithya spears Logos Shattering with a smile Suddenly I see all my faces I have seen the end of all things I slept a dreamless slumber… I have seen the end of all things I have seen the world reborn and crumble I have seen the end of …
Eventide’s effects over the past four decades have had an enormous reputation – the marketing folks aren’t exaggerating with words like “mainstays” and “classics.” Now, imagine getting basically everything – past, present, and some new stuff – in a bundle of 17 plug-ins for an intro price of US$699. (That price drops to as little as $399 or $199 if you own some Eventide software.) Eventide have done just that with today’s Anthology X. It’s just huge, it covers a lot, and just a fraction of it could make it worth the cost of admission.
You know the drill. There’s a new operating system from Apple. It breaks some music software. If you don’t like things breaking, you should wait a bit. Then once you’ve verified the stuff you need is compatible, go for it – it’s probably better than the last OS once the wrinkles are ironed out. This post occurs with each new OS, a bit like some sites do Holiday Shopping Guides, or April Fools’ jokes. I could almost turn it into a Mad Libs post. But here are the specifics.
There are effects that provide subtle coloring, minor tweaks. And then there are those that paint a whole new picture. Hologram is in that latter category, producing wild, synthetic effects that totally transform an input. Hologram by Sinevibes from Sinevibes on Vimeo.
Reaper 5 is out today. It’s the compact, tight, powerful music and audio production software whose users would like to know why more of you aren’t talking about it. And they have a point. Reaper 5 is US$60 with a bunch of included free upgrades, or a voluntary $225 for “commercial” use. Even the demo runs a full 60 days with no restrictions. Yet Reaper does a lot of things other DAWs don’t – even some of the priciest out there – in a compact tool that has exhaustive hardware and OS support, plus complete scripting. Now, what Reaper 5 …
What’s an ‘app’? For years, it was an uphill battle just getting people to recognize the ability of computers to generate sounds. When Native Instruments was founded in Berlin in 1996, their name was a clue to where they imagined the future going. Propellerhead’s release of ReBirth in 1997 began a concerted effort by the Stockholm-based company to campaign for in-the-box emulations of gear – and their partner Steinberg would shortly thereafter push ReWire and its own VST. Now, it’s not so much the app as the map – the physical control given to software. Whatever analog versus digital debates …