The mda-vst collection of effects has been a long-time favorite for me. It’s a set of no-nonsense, unique, simple effects, just useful stuff that doesn’t have any unnecessary bells and whistles. Oh, yeah – and it’s free, making an easy way to fill out your effect arsenal. But until recently, the collection was proprietary freeware. Now, it’s GPL-licensed open source for Mac and Windows.

Included: multi-band distortion, drum replacement, amp and speaker simulators, de-essing, degrading, delay, detune, dither, dub delay, compressor/limiter/gate, envelope following stereo imaging and simulation, a Leslie simulator, multi-band compression, an overdrive, a really insane pitch changer, a 3D panner, a sub-bass synth, a couple of vocoders with different numbers of bands, test tone creator, flanger, pitch tracker, and more.

I imagine the access to code for these things could help people launch their own effects projects. And as Windows VSTs, it can run easily in Linux hosts that support that format, too.

http://mda.smartelectronix.com/

http://sourceforge.net/projects/mda-vst/

Thanks to Marc Resibois for the tip. And you budding C coders out there, if you dig into the code, let us know.

What do you really want from a recording tool on a computer? The Digital Audio Workstation answer to that question has for years been on giving you a generalized set of tools that try to anticipate every possible need. The “workstation” approach puts a whole bunch of functionality in one place, in particular adding features like plug-in hosting for supporting third-party effects and instruments, video editing and scoring, and music notation.

Record is a different animal: it’s a specialized tool focused on making music with audio, instead of a generalized tool. Reason has focused on synths, with a distinctive set of hardware-styled modules in a virtual rack. Record focuses on sound, with a distinctive set of hardware-styled modules in a virtual rack. Get it?

What’s left out is important. There’s no plug-in support, but by limiting use to the internal sound modules, Record is entirely agnostic about things like sample rate and can be far more flexible with modular audio routing and fluid tempo changes. (There’s also no MIDI out support, but if you’re looking to sequence external hardware, I might look elsewhere, anyway – especially with gems like Numerology out there.) Record also supports ReWire and has various export features, so the assumption is that – as with Reason – when you really want plug-ins, you can use your existing environment of choice.

Maybe you can call the results a DAW, if you really want to. But the one thing that isn’t debatable: Record is Reason for sound.

CDM was first with the official story from Propellerhead over the weekend, talking about the philosophy behind Record. Now we can talk about the specifics inside – and I have a test version here I’ve been working with while on the road.

Basically, Record combines comp-based recording with Reason-style racks and a whole load of goodies for processing and mixing your sound, including Line 6 guitar effects and an emulated SSL mixing desk. Why am I excited to begin working with it? Basically, it’s what happens when you flip the Record interface around. The most important screenshot (see any of these shots bigger by clicking on them):

Here’s what you get:

• All about “Record”ing – with comps: As the name implies, the real soul of Record is recording. Comping is built in from the beginning so that you get a take you want, and each track even includes an integrated tuner by default. This is really a tool that assumes you’re actually one person plugging in an instrument and playing.
• Music and tempo-based sound: “Tempo-independent” audio is almost the reverse of what this is. When you record sound, the idea is that you always have some musical information in mind – beats and bars. Record lets you then change the tempo of that audio fluidly, without ever having to think about warping or slicing or markers or loops or anything like that. Propellerhead says they’re especially proud of the audio quality of the stretching algorithm working behind the scenes to make these changes sound good, which is what we’re already hearing (unofficially, of course) from beta testers in comments and elsewhere.
• Tempo changes: Unlike other tools that have focused on DJ-style or electronica-style master tempo, Record assumes fluid changes in tempo from version 1.0. There’s always a “conductor” track, a main tempo lane, which can have subtle, curved tempo changes (accel./rit.). When you export your audio, that information is exported as MIDI, so this musical information travels with you to other tools.
• An integrated recording/mixing/arrangement environment: This is the one DAW-like part of Record, though it still feels more like Reason than anything else. Each track gets three things: a channel routed into the mixer, an individual device module you can insert into the rack (as in Reason), and a sequencing lane for MIDI and audio.
• Sequencing: This is the most traditional part of Record – you do get conventional sequencer lanes. Clips can arbitrarily contain audio, MIDI, and automation data. The important thing to note is that, because Record doesn’t support plug-ins, you can count on consistent integration of automation – if there’s a knob in a module, you can automate it in the sequencer, just as in Reason.
• Hardware-style mixing: No software-style mixer here: the mixer inside Record is a direct simulation of hardware, not a loosely-inspired emulation. The Record mixer is modeled after an SSL 9000k analog mixing desk, so that it intends to look, work, and sound like the real thing. (SSL was not officially involved, so you’ll just have to count the Propellerheads as SSL fans.)
• Reason-style effects: In addition to the mixer, you get Reason-style modules for EQ, dynamics, and other effects.
• Line 6 guitar effects: Line 6’s virtual POD is built in, so you get their guitar amps and cabinets built in. I’m guessing those should be quite nice with keyboards, too.

Arrangement: Looking at the birds-eye view, Record does admittedly look like a DAW. But dig in a little bit to how these modules work, and there’s more Reason DNA than anything else. It’ll be interesting to work with these modules over the coming months. Also, most important to recognize is that when you see audio in Record, it will always obey tempo changes you make, including gradual speed increases and decreases – no warping or slicing required. When you do want to slice up audio, you could, say, drop Record as a ReWire client into an Ableton Live set, or even export your audio with tempo changes from Record as one track and put your sliced audio in a different rack.

The mixing desk:

The thing is, it’s not so much what Record does as what it does in a Reason-style way. So while this is a preview, not a review, here’s what makes Record more like Reason:

For Reason users, this one image pretty much sums everything up. The workflow is still essentially a Reason workflow – if you love that, you’re likely already salivating. If not, it’ll likely take more convincing from the other aspects of the tool.

• Every track is a rack: Each time you create a track, you get a modular rack, which translates to the inserts you see in the mixer. For advanced users, this means you can do anything with routing you want. You get a full-blown rack on each track, with all the usual goodies for routing. For beginners, it means you can call up easy presets for whatever you’re doing, and the parameters show up as plain-English knobs in the mixer. You don’t have to think about routing or what everything represents; you just focus on sound. For beginners and advanced users, the ability to “see” all of this routing with virtual cables and such means sophisticated mixing and routing setups aren’t quite so abstract.
• It’s a Reason interface: Everything looks and feels like Reason, even with a much more involved UI. All the new views continue on the theme of adjustable navigation panes. These views either get combined into a single-window interface, or can be detached if you’d prefer. But there are almost no dialog boxes, with one notable exception:
• You get Reason patches and patch browsing, for audio: Reason users will feel right at home, as Record extends the patch browsing metaphor from Reason. And because track effects inserts use what are essentially Combinators, those inserts just feel like Reason devices inside a mixer.
• Reason + Record: If you have Reason, you have access to all your Reason modules. And since Record has a big Reason rack – well, you get the idea. Instead of recording inside Reason, what Reason users get is Reason inside a bigger version of Reason that understands not only recording, but mixing and audio arrangement, and treats audio like music, with tempo.
• ReWire: Record is a ReWire client (slave), not a host (master). That should be your first clue Propellerhead aren’t trying to replace Pro Tools, Live, and Logic. But it does mean you could easily use, say, Record for recording purposes on your own, then drop it into a Pro Tools session in the studio, or Record to do some song-writing that you then bring into an Ableton live PA or remix set.
• Reason-style automation and control. Most notably, this is the first audio production tool I’ve seen that was set up from the beginning to be used with keyboards, as Reason was. It’s funny: right now, M-Audio are pitching using a keyboard to control Pro Tools with their Axiom Pro / HyperControl product. This essentially goes the other way: like Reason, Record uses the “Remote” protocol, which was effectively the first to “automap” your keyboard controller and control surface to the software. That means you can comfortably produce an entire work from your keyboard, while adding guitar or vocals as an audio recording.
• Oh yeah, it’ll be fun even if you only use synths: In case you haven’t guessed already, for Reason users, this means mixing and processing and arrangement tools that weren’t available before, so even if you never hook up a mic to Record, I imagine you could use almost all of these tools. (Only the tuner and audio comps become redundant.)

It’s really the relationship of the device rack to the mixer and tracks in Record that make it unique, and will be fun to explore over the coming months. When you create devices and Combinators, you can easily see them in the mixer and track sections. Sends are named as the actual sound parameter, too. Because it doesn’t support plug-ins, that also means you never have to worry about the way parameter names are handled in formats like VST, though you can always return to your favorite host when you do want plug-ins since Record is also a ReWire client.

Line6 guitar and bass amps are available out of the box as insertable modules. This is all you need for the interface: it’s aggressively simple.

The patch window will look familiar to Reason users. But if you’re new to this, what it means is that you can easily surf through, say, Line 6 guitar presets and hear immediately what they sound like.

So, what does the music sound like? Josh Mobley via Twitter tells us about his official demo song, “Push Me Down,” made in Record for Propellerhead. All the songs in the embedded player below were made in Record, with the exception of “Narrow Escape,” the demo for Reason 4.

About that Dongle

The other bit of news – and the one item that’s likely to be most divisive – is that Propellerhead is changing the authorization scheme in Record, as explained here:

Ignition Key

The good news: “demo” mode / non-authorized mode is actually only “open”-disabled. You can even save files in the demo; you just can’t open existing files. The Ignition Key comes free with the tool rather than being a separate purchase as with some iLok products, and if you lose or break it, a replacement is available for a nominal fee. (Some manufacturers actually have the gall to charge for the full purchase price of the product or close to it, which is utterly ridiculous.) Also, if you don’t want to use the key, there is an Internet authorization.

The bad news: it is still a dongle. Internet authorization requires a consistent connection while you’re working; the moment that’s dropped, the software reverts to demo mode. I would personally much rather have seen one-time Internet authorization as is available from Ableton and Native Instruments, among others, especially as Record would be fun to use on a bus or train without plugging in a dongle. Propellerhead say they’ve put some thought into this and wanted to do copy protection right, but I expect they’ll hear about it anyway.

The one upside I do see is for people who use a lot of machines (like myself, for one). You can use just the dongle without any other authorization, and you can use it on as many machines as you want. So that means you can move from a studio to a Mac laptop to a PC laptop to a netbook just by moving your dongle around, and never have to fill out a registration form or worry about if you’ve run out of authorizations.

Also, I’d suggest that people use this as an opportunity to freely try the demo without any annoying limitations and decide if you like the tool before you buy it.

Availability / pricing

Beta testing is starting now, today – sign-up at the site below.

September 9, 2009 is the official release date.

Suggested retail: US$299, EUR299. No word yet on what bundles will be available for existing or new Reason users, but Propellerhead says that it will have special bundle pricing of some kind.

Videos and more info at:

www.record-you.com

It’s been a long, long wait for side-by-side Reason and audio racks and recording in Reason, but there’s no question that this is a big announcement.

Since many of you will be beta-testing this alongside me, I look forward to hearing your opinions of the tool and any tips or techniques you discover.

For all the emphasis on learning how to use creative tools the proper way, it’s often when you misuse a feature that it really becomes a powerful tool. So, in the spirit of some of the “mistutorials” from Ableton’s own Dennis DeSantis, here’s our friend Michael Hatsis of New York’s Track Team Audio / Warper Party / Dubspot with a really unusual way to achieve scratching effects.

You know the Ping Pong effect for its clichéd, stereo-panning echo effects. But here, it goes an entirely different direction: now that Live 8 has added new delay modes, you can create some special effects that don’t sound like the typical effect. Mike manages to warp and bend Ping Pong into something that sounds a lot like scratching. He warns that “this is not meant to replace vinyl nor will it produce a totally authentic sounding scratch sound.” On the other hand, you start to get some sounds that are reminiscent of scratching but sound unique, which I think is a Very Good Thing.

Live 8 users, download the template:

http://www.trackteamaudio.com/videos/scratchtemplatelive8.zip

There’s also some nice discussion happening over on the Ableton blog. (Main request: automation / dummy clips for more sound-warping power.)

Video: Total misuse of a ping pong delay – scratch effects

(And those of you Pd/Max/SuperCollider/Chuck/Reaktor users out there, maybe this will inspire some DIY effects along similar lines.)

Previously:

Ableton Live 8 Creative Tutorial Videos: Using and Misusing Groove Extraction

Ableton Live 8 Creative Tutorial Videos: Misusing Frequency Shifter

(and, yes, much as I love Live 8, I welcome other tools, too – anyone interested in tutorials to request / tutorials you want to make?)

Updated, for all time:

Readers are nearly 100% for judging this one. It was a fake. And the site with a really stupid name (hellohomo??) admits that it was faux.

Howard Stern Hoaxed! Beyoncé "Outtakes" Are Fake, Creator Admits [E! Online]

Wow, that may be the last time CDM links to E!

Lesson learned: yes, the Internet has the power to spread rumors at new speeds. It can also debunk them even faster. That’s something to pass along to the “get off my lawn!” crowd.

Okay, sound engineers and audiophile experts out there: it’s time to play “is this YouTube video real?” (And, heck, even if it’s not, it’s oddly hilarious.)

A recent episode of Howard Stern’s Sirius radio show claimed to expose a “leaked” feed of the raw vocals for Beyonce Knowles as she sang live on the Today Show. I could try to describe just what they sound like, but it’s really best to hear for yourself.

So, what’s the deal? You can hear the in-tune vocals in the background, as though they actually are bleeding into the mic. Does Beyonce have access to some super-secret, military grade version of Auto-Tune? Is the difference between her processed voice and her actual voice as comically radical as depicted in the ‘N Sync episode of The Simpsons?

I mean, I know – YouTube? Blogs? Howard Stern? The Internet? How much more credibility could you possibly ask for?

I’ll let you be the judge. For the record, the Today Show audience actually heard this.

Found via the brilliantly-domained Yes But No But Yes and Matt Ganucheau. YBNBY or whatever you want to call it describes the singing talentes here as “a parrot being sawed in half.” Hatebeak, an actual parrot trying to sound as though he’s being sawed in half and unofficial mascot of CDM, I’m sure you’re jealous.

Previously: the Great Van Halen Detuned Keyboard Incident.

Oh yeah, and you may want to download this video before someone has it removed.

And yes, hey, if it’s just a fake, it goes nicely with the "shreds" video meme. So bring it on.

Updated: Consensus is that it’s a beautifully-executed fake. (I’m inclined to agree – sorry, Mr. Stern.) And to think, we thought all this time the advantage of tools like Melodyne and Auto-Tune would be taking out-of-tune things and making them in-tune – ignoring the expressive potential of doing the reverse.

Britney, meanwhile? That’s another story.

Now, what I’m curious about:

Who faked this?

How did they do it?

Speculation?

Sound is a wonderful, if invisible thing. To work with these tiny fluctuations in air pressure that make up what we hear, we always work with some sort of software metaphor. So why not make that metaphor pixels – and why not manipulate the visual element directly?

Translating between sound and image is not a new concept in music software. The deepest tool for these functions is unquestionably the Mac-only classic MetaSynth, which sprang from the imagination of Bryce creator and graphic designer Eric Wenger. To me, one of the most appealing features of MetaSynth has always been its filter tool, the one component that allows you to work directly with sound using imagery and painting tools. The core of the tool, however, turns images into a score for synthesis, which opens up powerful features for microtones and the like but can conversely make simply designing sounds more challenging. (Side note: Leopard users, read this re: MetaSynth.)

Photosounder looks like MetaSynth, but it more directly translates between sound and image. It also has a uniquely straightforward interface for precisely adjusting controls and mappings. Put these together, and you can really use Photosounder as an audio tool. That opens up not only experimental techniques, but even makes conventional tasks more accessible.

Photosounder is also under very active development, with recent additions like a lossless mode for better sound fidelity and loop modes. The result is a really compelling looking tool for audio manipulation.

What can you do with these pixel powers over sound? Users have been experimenting and posting some pretty impressive stuff:

• Isolating and removing individual instruments – making this an ideal remixing and sampling tool – using Photoshop
• Making entire tracks from photographs (which, again, was possible with MetaSynth as infamously employed by Aphex Twin, but sounds very different here)
• Processing using Photoshop filters
• Making beats by drawing
• Extreme time processing

Photosounder is currently Windows-only, but Linux and Mac versions are promised. (By the way, I think that’s going to become more commonplace as savvy developers take up cross-platform development tools, toolchains, and frameworks.)

It’s cheap enough to impulse-buy, too, at EUR25 non-commercial or EUR99 commercial.

http://photosounder.com/

Photosounder examples (with video)

I hope to get my hands on Photosounder and show off some features with this soon. Thanks to everyone who sent this in! (And yeah, after four or five people I finally get around to mentioning it!)

The best way to see what’s possible: check out the videos. Here’s a selection of my favorites:

Ah, Internet rumors: so adorable, so not actually true. But this one does demonstrate that people eagerly await the ability to edit audio with more flexibility. Something about Melodyne fires up the imagination.

Celemony caused a big stir last year with a video demonstrating Melodyne DNA technology – Direct Note Access. The YouTube video itself went semi-viral, demonstrating a kind of holy grail in computer audio: the ability to seamlessly edit audio note-by-note, even in a polyphonic texture, as easily as you can MIDI patterns.

Then, this month, a rumor started spreading through the forums that Celmony was “in a panic.” An alleged copy of a magazine I’ve never heard of, “Real Music,” claimed the mad scientist behind the technology had failed. The copy:

Celemony in trouble over DNA promise
"The technology demoed in Celemony’s upcoming Melodyne Editor used prefabricated loops and edits to illustrate a ‘what if’ scenario.
An insider told us: Everyone’s panicing behind the scenes at Celemony. Peter used a mock-up of proposed technology for live demos. In reality, producing a fully working version is proving to be impossible. When he produces a mini demo for one sampled phrase the whole thing breaks for other phrases. He’s panicing because very soon he expects Celemony to retract the promise of the holy grail DNA feature and apologize to the userbase. Peter has taken a month off work after a row with Editor’s project manager over his persistent failure to make the feature a reality."

Now, I find this all strangely alluring: Peter Neubaecker, the mad genius behind Melodyne, locked in a basement cursing his audio algorithms, perhaps with a computer hooked up to a giant lightning rod. His elongated beard only helps him fit this role. Betrayed by his assistant, Melodyne DNA becomes an utter failure. (“Are you saying that I put an abnormal brain into a seven and a half foot long, fifty-four inch wide GORILLA?”) You know, something like this:

Strangely alluring – just not terribly plausible, and, according to Melodyne, entirely made up. A representative for Celemony points me to this quote from forum host and site webmaster Claudio d’Allere, who tries to dispel the speculation:

Nobody is panicking at Celemony. We know we are late, and that may have raised some speculations. However, DNA still works as intended, and we are happy to invite you to our public beta test that we expect to start in late May or early June. Feel free to try this beta with your own audio files and not just "prefabricated loops"."

So, yes, the story – sit down for this one – is that the software is late. Let me explain something: late is much, much, much better than early. Early means that someone has shipped software before it’s entirely baked. I know this comes as a shock, of course. Just as we know it’s utterly unheard of that software or other technology be delayed (the horror!), we certainly have a hard time imagining anyone shipping any music technology with some features missing or lingering bugs or anything like that. Jeez.

Anyway, all my sources say Melodyne DNA is very much on track, and still looks fantastic to me. I’m sure, as with any audio algorithm, you’ll find audio that doesn’t work perfectly, but that’s true even of simple things like a Compressor.

The good news is, if you don’t have enough to do or have extra time on your hands, you can use the affordable Melodyne Uno to have fun right now, by recreating the spooky voice of the GLaDOS computer from the video game Portal. Behold:

Lately, I’ve had a number of conversations with audio and music tech industry figures in which they complained about the untamed wilderness of the Internet. These chats didn’t necessarily start with “You crazy kids and your…,” though I suspect that may have been implied. I’m sure that odd twists like this rumor were what they had in mind.

The Web does indeed give the power to transmit inaccurate information quickly – but it’s equally quick at correcting it. And it does gives us things like this awesome GLaDOS tutorial, so to me, it all balances out.

I am a crazy kid, though. Guilty as charged.

Stay tuned for that beta.

You may have heard about Pure Data (Pd), the open-source cousin to Max/MSP and a powerful tool for visual programming or “patching” music and multimedia. Pd has even appeared in the iPhone app RjDj and creating generative music for EA’s hit game Spore. But actually learning how to use the thing? Or learning some of the more advanced possible techniques in sound synthesis and processing? That’s another matter.

Johannes Kreidler writes to let us know about his new book for people wanting to learn Pd. It starts at the beginning and teaches you not only the ins and outs of the Pd environment, but all of the advanced music processing techniques, as well. (Given the similarity of Pd and Max/MSP, that should make this just about as useful for Max devotees, too.)

The book is available for reading free online, or in paperback format from Wolke Publishing House. It’s available in both English and German. Johannes writes:

This tutorial is designed for self-study, principally for composers. It begins with explanations of basic programming and acoustic principles then gradually builds up to the most advanced electronic music processing techniques. The book’s teaching approach is focused primarily on hearing, which we consider a faster and more enjoyable way to absorb new concepts than through abstract formulas.

The patches described are available for download.

He notes that because Pd is free and open source rather than commercial software, there isn’t a company behind it that can focus on documentation for new users. That’s been a common complaint about Pd, and this book does a lot to fill it — as well as a lot to fill the need for better documentation of sound techniques, as well, for users of any environment. Some of the juicy topics covered:

• Additive, subtractive synthesis
• Sampling
• Waveshaping, modulation synthesis
• Granular synthesis (something I try to eat a bowl of every day, seriously)
• Fourier analysis
• Sequencers
• Connecting to hardware, network transmission and OSC
• Basics of visuals

It’s a really elegantly-organized set of topics, and absolutely of interest to users of Max/MSP and other environments, as well. With this and a new SuperCollider book coming out this spring, we’re really getting some wonderful resources for learning greater ninja skills. Stay tuned, as I hope to create a forum for folks working on learning this stuff.

Resources

Book site, including downloadable patches and online reading:

http://www.pd-tutorial.com

Direct link to downloading all the patches as one zip (thanks, mic, in comments!):

http://www.kreidler-net.de/pd/patches/patches.zip

More info, including the paperback version:

http://www.wolke-verlag.de/musik_u_t/loadbang.html

http://www.buecher-zur-musik.de/assets/s2dmain.html?http://www.buecher-zur-musik.de/53108697370a2cb3f/5310869bc400a7a02.html

Author’s site:
www.kreidler-net.de

The authorship of the book was aided by a grant by the Music University of Freiburg / Germany.

Previous appearances by the author:

A song made from 70,2000 samples

The stock market declines, as a song

More Pd Books

bang | pure data Free, online

Creator Miller Puckette’s own The Theory and Technique of Electronic Music, free online in various formats and also in print

AudioMulch isn’t just a sequel or a new episode. This is AudioMulch: The Next Generation. We have holodecks in this one.

That’s the claim of the developer, anyway, and looking at the features, I have to agree. AudioMulch has long been a cult favorite for people wanting to patch together unusual sonic tools and performance rigs. That puts it in a category with apps like Reaktor or Max/MSP, but unlike those tools, AudioMulch has a lot of stuff built for you already. Those buildings blocks also have an idiosyncratic personality of their own, but remain flexible enough that you can make them a comfortable part of your own setup.

Oh, yeah, and this formerly Windows-only app now works on the Mac. Mac users can even open 1.0 patches. (Check the screenshots; you may not really be aware or care which OS you’re on.)

New in version 2.0:

• An all-new UI, built from the ground up, with drag-and-drop patching and faster MIDI control and parameter access
• Gray is out; black is in.
• Dockable windows stretch across multiple screens.
• Up to 2X performance efficiency increase
• Patchable MIDI routing, finally – so MIDI matches up with the power of audio in the first version
• Metasurface, tempo, and transport can now be controlled by MIDI and automated
• Complex time signature support, automated time signature changes, additive meters
• Improved support for consumer multichannel audio (see note below)
• Startup enabling of audio, MIDI, networking

I was curious about audio support. Here’s the answer:

I’ve made some changes to the DirectSound and WMME driver interfaces so they can output to surround outputs (ie on soundblaster etc), without needing ASIO4ALL or similar. No WaveRT at this stage. Previously the multichannel support in AudioMulch only worked well with ASIO or with some older WMME drivers for pro cards.

Of course, WaveRT support would be even better from what I can tell, though I don’t know how much (ahem) fun it is to develop that support.

The only bad news is that the cost has increased to US$189. But if you have 1.0, an upgrade is $89, and once you buy a license it’s portable across Windows and Mac. That’s especially nice; for me – as for a lot of us these days – the Mac is my backup to my Windows machine, and visa versa.

It’s funny, I always liked Audiomulch but could never quite get into it; I always felt there was a certain level of polish and functionality that wasn’t there. It looks like it might be there now.

We’ll have a closer look at this as it ships, which should happen very soon.

Availability: May 1, just in time to use AudioMulch to play your Kentucky Derby party

AudioMulch 2.0 Preliminary Information

Surprisingly-detailed AudioMulch Wikipedia page

Previously:
Gig Rigs: Girl Talk – PC, Plastic Wrap, and AudioMulch