Our friend Gustavo Bravetti is back with more Ableton Live tutorials. Looks like good fodder for working on some music making this weekend — especially if you’re not familiar with some of these techniques.

First up: cascading follow actions can break up endless looping repetition by triggering complex patterns. Gustavo throws in some "dummy clips" or "ghost clips" for adding additional automation.

Next, if you followed Gustavo’s bass drum tutorial with Operator and want to follow it up with some snares (and resonance), have a look at this:

More details at Gustavo’s iproducer column.

By the way, to anyone who wanted more "advanced" tutorials (or more beginning, for that matter — it’s all relative) — feel free to send us requests. Now I’m sort of intrigued by synthesizing drums; I’ve been chatting with a couple of our contributors here about Native Instruments’ FM8. The whole beauty of Operator is its simplicity, but maybe we should see if we can make an FM8 kit, as well. (And you’re not restricted to using Ableton’s own instruments in the Live Drum Rack, either.)

If you make stuff this weekend, or find tips of your own, let us know!

Craig Anderton is easily the most prolific music technology writer on the planet. We got an exclusive interview with him at Cakewalk at the NAMM show to talk about the technologist who has had the biggest impact on him: Bob Moog.

Craig talked to us about two projects, each a tribute to Moog’s legacy. First, there’s The Minimoog Tribute, an inexpensive expansion pack for Cakewalk’s Rapture and Rapture LE synths. Why another set of Moog samples, given there’s a fake Minimoog patch or thirty in just about every synth? Craig tells us he wanted to do something different: really create patches that “cover” the classics rather than duplicate them, taking advantage of samples of his personal Minimoog but blending them with Rapture’s digital capabilities.

Craig also talks about why he chose Rapture, because “it basically says twist my knobs, man, have a good time.” (I won’t touch that one.) In all seriousness, he describes the relationship with the synth as being a personal one.

And this isn’t just a preset pack. It’s got gear porn in it, too — cue the Moog porn bassline.

Craig Anderton’s MiniMoog Tribute Expansion Pack [Cakewalk]

Liz interviewed Craig for CDM at the Cakewalk booth:

NAMM08: Craig Anderton @ Cakewalk - Moog Tribute for Rapture [cdm@blip.tv]

But the real reason Craig wanted to have this interview wasn’t just to talk about his product — it was to make an impassioned plea for The Moog Foundation, which is working to save the vast archival materials Bob Moog collected through his life. They’re not just the history of Bob, or the history of Moog synthesizers: they’re a chronicle of the history of electronic music. And they now have met a formidable foe: humid southern weather. But you can help:

NAMM08: Craig Anderton @ Cakewalk - Moog Foundation [cdm@blip.tv]

A portion of the proceeds from the Minimoog expansion pack for Rapture will be donated by both Craig and Cakewalk to the fund, but even if you’ve only got $10 or $15, consider giving something directly to the foundation — or volunteer or contribute in other ways.

Moog Foundation Call to Action

Donation form

Have Moog synths influenced the way you use non-Moog synths and software? We’d love to hear how — aside from the obvious ways, of course. I know my approach to sound was deeply affected by using both the Buchla and Moog modular systems, even applying thinking about sound and synthesis to very different digital systems. Let us know in comments.

IVO Software, a Polish company that develops text-to-speech software, have announced they’re making a free PDF of A Christmas Carol available for download on their site. The idea is, you take this PDF, then unleash their Expressivo text-to-speech tool on it. Sure, every actor from Patrick Stewart to Jim Dale to … well, just about anybody who’s anybody with an English accent has read the story. But now you get it in the somewhat robotic monotone of “Jennifer”, an American, synthesized voice. Jennifer has won awards and rave review, but let’s just say computer-generated speech in general can’t help pass a Turing Test yet.

If you’ve been hankering for a little artificial speech in your holiday, though, don’t pass this up. In fact, if you want to hear Dickens’ words completely mangled, try Polish and Romanian voices on the English text. And you thought you would never hear A Christmas Carol in a new light. Dickens as you’ve never heard it before.

Free sample passage of the text
Expressivo Download Area
PDF repository, direct download of “A Christmas Carol”

For more holiday cheer:
Christmas Carol Mondegreens, which is what happens when you mis-hear lyrics. (Think: “See the blazing Yulbie Forest” and various things roasting on an open fire.)

If you didn’t see it last year, there’s always — through the magic of digital sampling — the Nutcracker Suite played entirely on bicycle parts.

And lastly, from the CDM forums, a very Happified Wintricated Holidation to all. Now let’s get celebratronic, at least until we make up our own holidays.

Take the modular, patchable sound-making capabilities of Reaktor and (at the other end of the scale) Reason, and combine it with a graphical, zoomable, nodal interface with patch cords showing actual signal, as on the reacTable interactive table interface, and you should get something like Mod271. (Pronounced “mode.”)

The software is in pre-pre-alpha phase, but it’s freely downloadable for Windows users if you’re adventurous, and the developer promises more progress and other operating systems soon.

Features:

• ASIO/MIDI support, VSTi version coming
  
• Everything is full audio-rate, meaning you can mix and match MIDI and DSP
  
• Powerful nodes: “every node can be automated with unlimited control points and automation takes place right in the 3D environment.” … “nodes can influence any amount of other nodes or switched into a singular state.”, with radial and linear modes for the nodes
  
• Interface is 3D hardware-accelerated, and the signals even (optionally) draw at audio rate for realistic previews
  
• sample-accurate envelopes and motion, “meaning you can make an oscillator out of an envelope.”
  
• 25 node types and growing
  
• Make your own nodes with Python

Crazy stuff! It’ll be interesting to see how this one develops. And I hope the Reaktor developers are paying close attention; there’s a lot here that could inspire a future Reaktor version.

Full description, lots of background, and that bleeding-edge super-pre-alpha-at-your-own-risk:

Mod271 @NuDSP

Thanks to Ronnie of rekkerd.org for the tip!

There are few names who have had so profound an impact on music technology as Dave Smith. Three decades after the introduction of the Prophet-5, and nearly 25 years after the first MIDI product shipped, his new creations remain some of the most sought-after musical instruments available. The new Prophet ‘08 is capable of producing just as much excitement as some of those earlier landmarks. That’s why we’re pleased to offer this entirely non-exclusive interview with –

Yes, that’s right. I said “non exclusive.” The word “exclusive” gets thrown around a lot, usually meaning something that really isn’t terribly exclusive at all. But in this case, we’re pleased to collaborate with our friends at the leading Spanish-language music technology site, Hispasonic.com. I worked with Xabi to brainstorm some ideas to talk about, and Xabi conducted the interview. For those of you for whom Spanish is your native language, definitely don’t miss the version on Hispasonic:

Dave Smith, el profeta de los sintes

Here in English, Dave talks about the genesis of the new Prophet-8, and reflects on synthesizers and musical instruments in general. I’m not sure I’m going to agree that only hardware synths are “real instruments” and software synths are best for beginners, until they get “serious.” (I would absolutely agree that’s the case with emulation, and that software synths should go their own way, both of which seem to be his main points. Hopefully we’ll get to do an in-person interview soon.) But I will agree that Dave truly creates real instruments, and his unique angle on design should be a challenge to hardware and software developers alike. And not even the most die-hard software lover could argue with the musical prowess of the Prophets — and their creator.

There are synthesists, and then there are people like Phil Dodds. He’s perhaps best-known as the man who wrangled the (real) ARP 2500 synthesizer in the movie Close Encounters of the Third Kind so that it could perform an elaborate jam session for (fictional) aliens. But he left an extensive legacy of achievements that helped make music technology more than science fiction.

Our friend Yann Seznec (aka The Amazing Rolo) writes:

You’ve mentioned Phil Dodds on your site before, the guy who played the ARP 2500 in Close Encounters of the Third Kind. He was VP of Engineering at ARP, he wrote all of their service manuals and schematics and helped design and build many ARP synths, from the 2600 to the Chroma. He then went on to work for Kurzweil, developing digital piano systems. He was even involved in the creation of the MIDI standard. He also happened to be my uncle. I thought you might be interested to know that he died last weekend.

Our condolences to Yann and all of Phil’s friends and colleagues. There’s some really moving commentary at the Aviation Industry CBT Committee blog (really, because after all of his work in synthesis, he also was a driving force behind a distributed online learning initiative for the Department of Defense):

“What are we saying to each other?”

That was a single line, spoken by the sound engineer at the end of Close Encounters of a Third Kind, as he played chords and a friendly alien spaceship played music back.

The Passing of Philip V.W. Dodds

… and more on Wikipedia:

Phil Dodds

We talk a lot about tools, of course, but that question of “what are we saying to each other” couldn’t have deeper resonance for what we do. And if aliens do show up, thanks to Phil Dodds, I think we might put on a great show.

Dave Smith Instruments, the boutique synth shop responsible for the beloved real analog-meets-digital Evolver line, have been hard at work on new things. In February, we got to see details of their upcoming BoomChik drum machine. The BoomChik is a long way off, though. Now, they have something else that is apparently imminent, kept in absolute secrecy during development, with a moniker as legendary as “Moog Micromoog” — a new Prophet. (Hang on, I think I can write the cheeky Keyboard Magazine headlines now… “Second Coming”?)

It seems that DSI is very close to beginning production of an 8-voice Prophet, all analog. Matrixsynth absolutely gets the scoop on this one. Specs and links:

• Prophet ‘08. Eight voices, all analog. Shipping next week. Wait — next week, you say?
• Sequencer, arpeggiator, and “one or two more fun little functions”
• “It does use the same CEM chips as the Evo stuff, but they sound different because Dave tweaked them differently, and the system isn’t the same without the digital stuff in the signal path.”
  
• $2199 MSRP, $1999 MAP.
• Teaser video [AVI] by Stefan Trippler

Finally, an audio sample, with Spectrasonics Stylus for drums:
http://www.trippler.net/files/p8/p8k.mp3

And an all-Prophet sample:
http://www.trippler.net/files/p8/p8i.mp3

Tom at Music thing has some reflections on the value of Prophets, with obligatory YouTube link.

What about that drum machine?

Now is as good a time as any to check in on Dave Smith’s other current creation, the BoomChik, a collaboration between synth pioneer Dave Smith himself and Roger Linn, creator of the MPC (among various other great things). DSI let out a little update in June:

Dave and Roger are hard at work on BoomChik and it has—ahem—evolved considerably since making its limited and thoroughly virtual appearance at NAMM and online. There are still some major design decisions to be made and it won’t see the light of day until sometime next year, but we think it will be worth the wait. I’ve been privileged to see some of what they’re working on and, for whatever it’s worth, I’m excited by the possibilities.

Fair enough! 2008 … I’m sure I’ll be flush with cash by then and buying all new gear for my studio. So this works out perfectly! (Phew!)

And while we’re at it, there’s really no reason to look only at the new stuff. The best bargain buy remains Dave Smith’s US$1329, 3-octave, 1-voice Evolver keyboard, with both analog and digital oscillators, plenty of filters, four LFOs, a flexible sequencer, audio inputs, and analog delay. Its streamlined design and low price (for an analog synth, anyway) could make it an ideal companion to a computer. It’s funny, the name Moog tends to get all the attention, but I think the great thing is that there’s a whole little corner of the market for modern takes on analog synths.

Thanks to all three major synth-loving sites for this: Vintagesynth.org, Music thing, and Matrixsynth, all must-reads for synth fans.

For many, the notion of producing sound by patching spaghetti-like nests of cords in hardware is a historical curiosity. Even among those who appreciate this hardware for what it is, conventional wisdom says such instruments aren’t really modern. (Don’t even ask the various universities who gave up on using and maintaining the gear entirely, relegating them to dusty closets — or much worse.) Modular synths are under pressure in 2007 to compete with lots of new technologies. Is it worth making music with them?

Composer/musician Richard Lainhart has taken up what is perhaps the most modern of modular analog synths — the Buchla 200e — not because of historic interest, but because “I’ve come to miss the immediacy and organic sound of analog modular synthesizers.” He’s not planning to lock himself in a room and make archaic, hours-long compositions with it, either; he chose it because its patch memory is “ideal for live performance.” And, as a person trained as a composer myself, that seems like the ultimate test of an instrument — if you can actually play it live.

Even if you’re not ready to shell out the money required to buy your own 200e (they cost about as much as a pickup truck), if you have any interest in synthesis at all, it’s worth joining Richard on his explorations. Get started by checking out the Introduction video for a look at his rig and how he uses it, then check out expressive applications like the video entitled “Chorale.” It’s immediately inspiring as a way of thinking about sound and performance. I certainly can’t afford this setup myself, but then that’s not the point. Once you see an exciting performance, you’ll find a way to do something of your own on what you can afford; that’s part of the grand tradition of music.

This happens to be an excellent demonstration of the potential of the Haken Continuum Fingerboard controller, as well.

We’ll be watching, Richard.

O-Town Media: Buchla

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Buchla 200e + Haken Continuum Photo Teaser: Modern Classics?
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