Όλα τα τελευταία νέα για τη Μουσική Τεχνολογία και την Ακουστική, κατευθείαν από τις επίσημες ιστοσελίδες των εταιρειών, συγκεντρωμένα σε ένα blog!

Sample Logic: Impact


Sample Logic breaks new ground with IMPAKT — A suite of over 850 breathtaking morphed concert percussion instruments and multis that will blow you away. This diverse collection of instruments ranges from dramatically twisted marimbas and xylophones, blissful chimes and bells to massively transfigured timpani, gongs, bass drums, cymbals, and a variety of world percussion instruments. IMPAKT also includes a complimentary set of traditional concert percussion instruments. All sounds were recorded on the Scoring Stage at Skywalker Sound (a Lucasfilm Ltd. Company) under the direction of renowned percussionist Jim Wunderlich and System Blue, the result of which is a comprehensive library that contains both traditional instruments and an evocative collection of morphed cinematic instruments, transitions, atmospheres, leads, impacts, and tempo-synced rhythms.

IMPAKT captures instruments and performances that goes far beyond standard performance techniques and practices. From the massive collection of material sampled, Sample Logic has crafted an insane suite of innovative dynamic and original cinematic instruments, bringing forward a new genre of sound where music and sound design collide.

Morphed

  • Atmospheric/Ambient Soundscapes
  • Melodic Leads and Pads
  • Percussive tempo-synced rhythmic Loops
  • Melodic & Percussive Arpeggiated Instruments
  • Percussive Impacts, Big Hit Ensembles & Kits
  • Swipes, Scrapes, & Reverse Transitional Effects

Traditional

  • Marimba, Vibraphone, Xylophone, Glock & Crotales
  • Bass Drum, Timpani, Gong, Tubular Bells, Suspended Cymbals
  • World Percussion – Bongos, Cajon, Wood Block, Conguitas, Cow Bell, Water Triangle, Wind Chimes, Hands, Guiro, Tambourine, etc.

Multis

  • Over 80 custom crafted multi-instruments that include Construction Beds, Instrument Stacks & One Note Glory Multis
  • Performance-ready with up to 6 customizable Multi Script Macros

IMPAKT’s spectacular user interface was designed with the composer and sound designer in mind, providing effortless control for complete customization. IMPAKT is all about user experience with the freedom to infinitely transform samples into awesome evolving instruments with endless possibilities.

The interface includes:

  • “Multi-core Effect Sequencers” for real-time effect automation
  • “Triggers” – 48 unique effect chains
  • “Arpeggigater” – sequencer based gate effect
  • “LFO” section to make things wobble
  • “Wave” – additive/subtractive synthesis engine
  • “Pitch” sequencer for quick and easy real-time pattern based transpositions
  • “Space” – a 3D sound mixer for traditional instruments that can dramatically change the listening perspective in realtime.
  • “Loop” – audio sliced based effect engine that can bypass and turn effects and parameters on in realtime that is included on all tempo-synced loop instruments.
  • “Multi Script Macros” for real-time sequencing of instrument parameter controls

All of the traditional instruments in IMPAKT were recorded and programmed so the end user has total control of the multiple microphone mix (Close, Mid, Far, Rear, Sub, Wavetables), using a newly designed mixer section. Additionally, the entire listening perspective of any traditional instrument can be manipulated, using a new 3D-sound engine called “Space”. Space includes a visual mixing console for easily changing the listening perspective to any location in a theater. From standing behind the stage to sitting all the way in the back row of the theater, each instrument can be moved around for the perfect mix when combining instruments together.

Info:
Sample Logic: Impact

Misa: Tri-Bass


Introducing the Misa Tri-Bass. The tri-bass has been designed specifically for tomorrow's electronic music. Although it looks like a guitar, and has a name like a bass guitar, it is played like neither. The tri-bass design is pretty far removed from traditional guitar, even more so than the original misa kitara. Partly this is to try and break any assumptions people may have of digital guitar style instruments; mostly though, it's to make the instrument fit perfectly in a modern electronic music setting. So with that out of the way, let me break down the core elements of the design.

The neck is touch sensitive to encourage sliding along the neck. In fact, that's what it's all about. There are no push buttons. This is to stop the bad sound of amplitude and filter envelopes restarting, something that happens when trying to slide across an array of push buttons. When you set your synth to glide, this neck design will make sure it sounds better than anything. The fingerboard is wave shaped with channels to lock the finger to the sensor area. This is mainly to provide the tactile information a player needs about their hand position.

The tri-bass has three "strings" only - six strings are unnecessary. YES I know that's a controversial statement to make. But after learning how other people were using the misa kitara, understanding their expectations as "digital guitarists" and most importantly seeing the workflow and processes others are currently using to produce modern electronic music, I knew it was the right decision to make. One note alone through a synthesizer can be enough to completely cut through any mix and provide enough tonal information to sound like bliss (if you're doing it right). Do you really need six? (And this is not to sacrifice musicality, because the multi-channel nature of the instrument - see below - more than makes up for it.) Too many times people have picked up a kitara and tried to play a barre chord. It's not really right. These sorts of six string chords are just not important for what the tri-bass is trying to achieve. The design is a reminder that the tri-bass is not meant to sound like a guitar, and it forces the user to adapt their playing style to a new electronic form. The other reason for the low string count is that three widely spaced strings allows me to do interesting things with the layout as I have more space. The result is to make playing much more comfortable and enjoyable, especially live and in dim light conditions.

The tri-bass body and neck are solid wood just as an electric guitar is. The maple neck feels really comfortable to play. This is my favourite part of the design because I think this, coupled with the embedded electronics, provide that perfect balance between traditional and futuristic forms. There is something special about combining old materials with new ones, even though it can be an engineering nightmare.

The tri-bass is a controller only and does not have an on-board synthesizer. State of the art software synthesizers are freely available to generate sound and musicians rarely limit themselves to one synth only. I want to leave the option open to the players to choose sounds based on their own taste, rather than being stuck with something provided on the hardware. Furthermore, most synthesizers are highly configurable. So my aim has been to give the tri-bass no configuration options at all, to prevent the requirement of configuration at two ends which is messy, especially when sharing presets. A minimalistic interface with configurability at the sound module end is most effective.

Perhaps the coolest element of the tri-bass is that it is multi-channel by default. The screen lets you control multiple synths or sounds simultaneously. You can mix different sounds together just by touching different parts of the screen.

In summary, I am very proud of the misa tri-bass. It is a solid, robust and stage-worthy product that has had a lot of thought go in to the design, and a lot of work go in to the engineering. I hope you like it.

Binary Music: Electrophonics For Kontakt 4 & 5


Electrophonics is an eclectic library of sounds created by, or processed through a modular synth system. Great for soundtrack work, but equally useful for adding texture or more organic elements to all types of electronic music.
There are 138 patches (plus an additional 32 Time Machine versions of patches with rhythmic content), made from more than 730, 24 bit 44.1kHz samples. The patches are arranged in categories: Coolicon, Drones, Filter Sweeps, Modular Tones, Odyssey FX, Percussion, Space Atmospheres, andZither. There are also convolution impulses from a Roland SRE-555 and a Doepfer A-199 spring reverb.

The Coolicon is a type of light shade that was used at the BBC in the 1960s. While recording at the Radiophonic Workshop, Delia Derbyshire discovered that they were rich in harmonic overtones, (similar to a Tibetan Prayer bowl or bell), analysed the frequencies, then recreated the sound with a collection of oscillators. We've used band pass filters to break the sound down into its different components - some tonal and some atonal - and then processed them through a variety of synth modules and effects. There are 40 patches in the Coolicon section and the demo track 'The Green Lamp' was made purely from these.

The filters in our modular system include a cloned ARP 2600 by Analog Metropolis, a Buchla Low Pass Gate by Thomas White, a Blue Lantern Polivoks, Moog and TB303 types by Doepfer. Some sounds were also created by our ARP Odyssey and a toy zither.

The main panel has controls for volume envelope and modulation, pitch mod and filter controls (only a couple of patches use the Kontakt filter, but it is here as a convenient method of quickly changing timbre). There is also a global effects bypass switch. There are a further three control panels - Voicing/Time Machine, FX1 & FX2 - see the photos below.





Soundtrack Loops: Broadcast Rock Tools Loops


You told us what you wanted and we listened. We took the Stacey Blades Rock Sessions stems, edited them down to seamless loops, added more guitar parts (both rhythm and lead), real live electric Bass, Acoustic drums, Piano and packaged them up into this neat and pristine collection of Broadcast ready in-your-face Rock n Roll standards. We used the best Protools set up with top notch high end recording gear, microphones, drums, guitars, and bass to give you these radio and TV ready sounds. Guitars performed by professional guitarist Stacey Blades, Drums by Jimmy D'Anda, and Electric Bass by Jason Donnelly. Produced by Donnelly and Blades. You'll get 153 loops spread across 13 construction kits. These kits contain multiple rhythm guitar variations, multiple lead guitar variations, multiple drum variations, and multiple Bass variations. Good for Rock and Blues. Tempo and key information is provided in the file names as well as in the meta data. Turn it up dude!

Zipped Contents (720 MB)

  • 13 Construction Kits
  • 153 Loops
  • 24 bit 44.1kHz Stereo
  • Available formats are Apple Looped Aiff,and Acidized .Wav

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Producer Loops: Ambient Metal Constructions Vol 4


'Ambient Metal Constructions Vol 4' marks the return of this epic series of dense, atmospheric and heavy Construction Kit products. Packed full of huge half-time beats, deep bass lines, lush pads and downtuned guitars, this mammoth pack is ideal for everything from Rock and Dubstep to Downtempo and Chillout.
Begin your Ambient Metal journey anew with 'Ambient Metal Constructions Vol 4'.

This newest instalment puts a new spin on the popular series, this time placing more emphasis on dense soundscapes and brooding atmospheres, all the while maintaining the gritty edge that gave volumes 1-3 their distinctive sound.

Inside you'll find crushing rhythm guitars, ethereal lead guitars and a whole host of otherworldly synths perfectly suited to a variety of contemporary styles, as well as soundtracks, trailers and games.

MIDI Files Included:

Like so many other Producer Loops products, 'Ambient Metal Constructions Vol 4' includes MIDI files for the majority of musical phrases heard in each Kit, allowing you to seamlessly mix your favourite synths and samplers with the sounds contained in the pack.
Advantages of MIDI:

While the supplied ACID/Apple Loops/REX content is extremely flexible and powerful, MIDI has the added benefit of allowing you to go to extremes of pitch and tempo beyond which the loops were originally recorded, with no time stretching or pitch shifting artefacts. Furthermore, you can make tweaks to the riffs so they fit perfectly into your existing mixes.

Dry/Wet Loops:

For users looking to simply drag and drop, the 'wet' files contain all of the effects processing heard in the audio demos. But for producers looking to create their own effects mix, 'dry' loops are also included. Don't like the wet loops? No problem, add your own effects.

Unlooped Riffs/Tails:

This sample library also comes with unlooped/tail versions allowing you to end a phrase with the decay of the reverb/delay applied to the loop, another "Producer Loops" exclusive product feature. Used in conjunction with the seamlessly looping files you can start, loop and end any phrase in an entirely natural manner.

Royalty-Free:

All of the loops in this product are 100% Royalty-Free (including the vocal loops), so once purchased, you can use these loops in your commercial releases without having to pay any hidden costs.

Specifications:

  • 5 Construction Kits
  • ACIDized WAV Files
  • Apple Loops/AIFF Files
  • REX2 Loops
  • Reason ReFill
  • Loops sync to BPM
  • 44.1 kHz/24-Bit
  • PC/Mac Compatible
  • Royalty-Free (No Exceptions)

Info: