Movement is here – and it’s a little scary. The folks at Output have some weird way of dialing directly into the zeitgeist of what we want from production these days, and delivering it in an easy form. They did that with reversed samples (REV), with vocals (EXHALE), and now they’re doing it in an atypically musical multi-effect with loads of rhythmic and side-chaining features. This isn’t just another delay or something like that. It’s an entire effects toolbox built around rhythm and modulation, in a way that’s unusually accessible.
It’s not so much how complex or simple an instrument is – it’s how much you can make it feel your own. We covered a series of updates last week to Novation’s Circuit hardware. This week, as part of a collaboration with Novation and their product specialists, we’ve put together an exclusive hands-on guide to how to customize it for your own use. First, here’s a video overview of how loading your own samples works, and why it’s important: What you can customize The “Novation Components” update covers a number of areas. You can… Load your own sound samples (60 …
If it feels at times like everything has been done in sound synthesis, every new sound uncovered, then look to physical modeling for a way forward. This collection of techniques simulates the way sound is produced by acoustic objects. Applied Acoustics Systems (AAS) of Montreal has been one of the leaders in that field – and they’ve got a new product out that might be the friendliest offering in this field yet.
Soundware is everywhere, from endless catalogs of loops to yet another pack of sampled vintage instruments. But apart from questionable quality as the market grows crowded, the other simple question is, just how should these packs be assembled? SympleSound is what happens when a sound designer decides to treat the sound pack like an instrument unto itself – not just content, but a set of tools.
KORG’s runaway-hit volca series has proven small can be fun. But the volca FM promises more power in a small package. The volca FM, teased in California in January and demoed in early prototype form, is now official. And part of why we’re eager to get our hands on one is that it’s more than just another little synth box. Okay, so it’s a 6-operator FM synth that’s fun to play with – that you probably got right away. But it’s also a way of loading vintage FM patches, and has powerful editing features. Let’s look and listen.
Last November, I went armed with some LOM label microphones to the Netherlands to find out what sounds you could discover in a space research facility. That exploration produced a lot of sounds, and one way to play with them was to transform them into percussion. Now you can download the drum kit I made for your own use, or to create your own instruments.
Microphones already expand what we can hear. New devices can sonify an unheard world even beyond sound. We covered the use of sound as a way of conveying gravitational waves, waves that – while not sound – are far easier for both scientists and lay people alike to grasp when translated to the audible spectrum. And we’ve already seen a world of microphones and devices by Jonáš Gruska, whose LOM label shares both the electronics and music made with them. Well, now Jonáš is back with a new generation of devices. Here’s what they are and how their results sound.
By now, you’ve heard about KORG’s $499 minilogue analog polysynth, and the next question is: how does it sound? I’ve been playing around with it, and I can at least say this: it isn’t boring. I’m wary of sound samples. Most synths are capable of producing some sorts of good sounds, unless there’s literally something wrong with the way they’re engineered. And likewise, the experience of using an instrument goes beyond what an out-of-context sound can describe. But with that in mind, I’ll share some somewhat random excursions here. My guess is that (cough) more respectable synthesists will post the …
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?
Theoretically, digital sound can sound like anything. And I do mean anything: at the frontier of what is conceptually possible, digital representations can produce any sound. Despite this, so many of the sounds we hear, well, the same. Dealing with that kind of generative freedom is no minor challenge. And that could explain the cult-like dedication of some sonic explorers to the sound environment Kyma. Kyma isn’t the only tool that can do spectral analysis and resynthesis. But it has a special history of working with data in this way, both as one of the first tools to do so …