Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » 2017 » December

Grid Music goes beyond traditional synths sequencers through its unique generative propagation model

Delivered... Ashley Elsdon | Scene | Sat 30 Dec 2017 8:21 pm

It’s always great to see an app return to the app store. Especially after a very long gap. So it is with Grid Music. It was around in its original form around 5 years ago on the app store, and at that point was for iPhone only. Now it’s back, it’s better, it’s universal and it is quite different from a lot of other synths and sequencers.

Way back then I made a small (and slightly awful) video of it.

However, it appears that my video could be the only one of the original app. That in itself would be weird.

Anyway, the original app was pretty cool in my opinion. I enjoyed it a lot, so when I heard from the developer that he intended to bring it back in a new form, I was so pleased. The new Grid Music is even better than the original, and, what’s more, I know it’s going to get even better. I’ve been testing Grid Music for several weeks now. It’s stable, it’s fun, it is quite different to other sequencers and synths and it can generate some really unusual and interesting patterns.

In the words of the developer …

Grid Music is a flexible, generative step sequencer and synthesizer. It’s an easy way to make music that has a mind of its own. It offers creative possibilities beyond traditional step sequencers by using a propagation model: pulses follow connections around a grid, triggering notes and timbre changes.

  • Simple pattern editing. Easily adjust pitches, modulation, and rhythmic intervals. Easily modify pattern layout to create multiple tracks, random branches, and loops.
  • Pitch quantization. Notes are quantized to a key, scale, and octave range and can be instantly transposed.
  • Pattern queueing. Easily perform a sequence of patterns in time.
  • PWM synthesizer with pulse width ramping, vibrato, and envelope settings.
  • Supports Ableton Link for tempo, beat, and phase synchronization with other apps and devices.
  • Supports the iOS Files app.

You can find Grid Music on the app store. It costs $4.99:

The post Grid Music goes beyond traditional synths sequencers through its unique generative propagation model appeared first on CDM Create Digital Music.

The Acid Jesus Story: Techno, Trance and Frankfurt’s ‘90s Scene

Delivered... Interview by Sven Von Thülen. | Scene | Fri 29 Dec 2017 2:26 pm

The post The Acid Jesus Story: Techno, Trance and Frankfurt’s ‘90s Scene appeared first on Telekom Electronic Beats.

The Misunderstood Farmer Boy

Delivered... Xander Ferreira | Scene | Fri 29 Dec 2017 10:00 am

With his project Gazelle, Xander Ferreira aims to show the diversity of cultures in South Africa, and to translate the political strategies of African dictators to the world of pop music. Ferreira is white, which became an issue. An article from the Norient book Seismographic Sounds (see and order here).

Gazelle Album Cover «Chic Afrique» (2011)

[Thomas Burkhalter]: In January 2015 South Africa’s leading newspaper The Mail & Guardian accused you of cultural appropriation, alongside white South African artists Die Antwoord, Black Noise, and Jack Parow. What was your reaction?
[Xander Ferreira]: I never felt so misunderstood before. With Gazelle, my aim was always to bridge gaps between different South African cultures and to make social commentary through that. This journalist asked in our interview why I was using African aesthetics in my music and imaginary. I was so offended. Am I not African because I’m white? For ten generations my family has lived in South Africa. I grew up in a very rural part, on the border to Mozambique. The majority of people around me were Sotho. I lived with their culture. If someone of Chinese descent is born in Germany and speaks German, are they Chinese or German? Am I European? Then provide me with a Portuguese, Danish, and British passport and rights, please.

[TB]: You shot your video «Die Verlore Seun» (The Lost Son) on a farm. Is this were you grew up?
[XF]: Yes, this video is my story of breaking free from unspoken restrictions. It was filmed on my parents’ farm with people who work there and who I know well. People ignore that when making statements like that journalist. Others have expressed the same criticism, too. They might at least take into account my ambition and mission: to celebrate the diversity of cultures in our nation. Too many people here create ownership and entitlement: this is ours, that is yours, don’t touch ours. If you live in a democratic society and amongst many cultures, celebrating diversity is the only solution for peace. Segregation creates misunderstanding and conflict.

[TB]: Can anyone mix markers of cultures freely?
[XF]: Just downloading foreign sounds from the Internet and mixing them together is not enough; and taking from someone else without giving back is always exploitation in some way. Personally, I feel that we should be in contact with the culture we remix, at best submersed in it. Like Johan from the London-based group The Very Best and Radioclit. He went back to Malawi year after year, and he lives there now to record his new album. There is a fine line between exploiting cultures and embracing and celebrating them. It was funny. The day that article was on the cover of The Mail & Guardian we were rehearsing for our last Gazelle show ever — fourteen South African musicians from all different cultural backgrounds. Was our effort, time, and passion to celebrate diversity so negative?

[TB]: Is the amount of income a project generates a criteria? What about Paul Simons’ album Graceland (1986) that he recorded with the South African group Ladysmith Black Mambazo?
[XF]: Whenever there is success and money, there’s more criticism. People will be quick to judge. Some see Paul Simon negatively. I believe that because Graceland was one of the most popular records worldwide it helped people enjoy and celebrate South African traditional music until this day. It is about intention, sincerity, and fairness. Is it your intention to make profit? Do you aim to create value for people involved in your project? Are you creating value for the culture you are celebrating?

[TB]: How did you create value for the farmers involved in «Die Verlore Seun»?
[XF]: It was about showing the human and joyful side of a group of people that are otherwise looked down upon in society. These people are my family; I show our home in this video. As I didn’t have a budget for the project and filmed with a camera and a tripod only, I tried to at least be creative in giving the people involved something back. One farmer’s biggest dream was to be on TV, which we realized through the video. I further convinced my father to give people the day off. This might not be much, and, yes, I got a lot of criticism for that video: that I’m exploiting these farmers, or that I can’t show African people working on a farm. People can take something negative out of anything, and people can take something positive out of anything. That is what it comes down to.

[TB]: Gazelle has an exotic look: you wear a leopard hat, and your partner Nick Matthews wears a mask and a Basotho hat (see image below). Aren’t these just cultural clichés?
[XF]: Gazelle was conceptual art before it was music. I had been a photographer and I wanted to create an art project through which I could speak my mind. It became an intensive study on the relationship between socio-political behavior and modern day marketing. I studied the three African dictators Idi Amin, Mobutu Sese Seko, and Muammar al-Gaddafi, and I tried to understand how they convince people to believe in them. I asked myself why we always end up with bad leaders. I researched all the different steps and strategies these dictators took to become that powerful. This led to the publication of my book The Status of Greatness. Then I wanted to see what would happen if I copied these steps and strategies, but through the use of pop music. So, I created this persona Gazelle. I commissioned someone to paint a massive oil portrait of Gazelle from a painting factory in China to establish the character. I made a poster out of it and hung it everywhere in Capetown. I started working with repetition: always wearing the same clothes, always using the same picture in media, trying to create recognition and find followers.

[TB]: So what I saw as an «exotic look» is in reality a play with dictatorship «culture.» This might indicate how difficult judging is whenever elements from foreign cultures are involved. Should critics read liner notes, an artists’ biography, and other info before they publish?
[XF]: Basically, art should speak for itself. You can start a discussion whenever the critiques are negative.

[TB]: What is your opinion on the concept of exotica?
[XF]: I’m careful with it these days. Exotica started to have a negative connotation, associated with exploitation and appropriation, which is unfortunate because I think exotic is a beautiful word. Exotic means the unknown. We’re stimulated when we see something foreign or alien. Amazing architecture, visionary construction, food that you have not tasted before, or new, unfamiliar, sensational sounds. Exotica inspires new things to be born within yourself.

This text was published first in a very short version in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Xander Ferreira: «Five Video Clips from South Africa Vol. 1»
> Martin Stokes and Thomas Burkhalter: «The Banalization of the Exotic»
> Thomas Burkhalter: «Gazelle alias Xander Ferreira»

Step one: How to start using VCV Rack, the free modular software

Delivered... Ted Pallas | Scene | Fri 29 Dec 2017 7:01 am

So, you’re ready to try a free and open platform for modular synths – even if you’re new to modular. Here’s how to get started.

Ed.: In part one of Ted Pallas’ guide to VCV Rack for us, we got an overview of VCV Rack, an open source platform that brings software emulations of Eurorack modules to Mac, Windows, and Linux computers.

A guide to VCV Rack, a software Eurorack modular you can use for free

It’s pretty transformative stuff. You can run virtual modules to synthesize and process sounds, both those emulating real hardware and many that exist only in software. You might try out modular synthesis for the first time, even if you’ve never worked with this approach to sound before. Or you might use Rack as a computer complement to physical hardware rigs, a way of testing out new modules before investing, or as a way of mixing computer and hardware modules.

Of course, where to begin can be overwhelming, especially if you’re new to this kind of software or hardware. So, let’s talk about how to get up and running – even if you’re new to these kinds of tools. -PK

Where to find Rack

This article is for people who are new to modular, open-source software, or both! We’re going to go over where to find Rack, how to get it on your machine, and then will examine a sample patch to check out some modular techniques — the sort of techniques you might lack if you’re more used to working with desktop synthesizers or computer DAWs and soft synths.

The best place to find Rack is at its official project homepage:

(Check out the official Facebook group for additional community and support, as well.)

Before you grab the download, register an account (or login if you’ve got one already). Linking your Rack to a user account makes it easier to install virtual modules automatically and to stay up to date.

Then, you have a choice: you can build from source, or use pre-built stuff. If you’re not accustomed to this choice, that is to say, you have easy conventional installers linked right from the top of the VCV page – installed as you’d install any other Mac and Windows software – or the option of building from source if you prefer, more as a developer (or typical Linux user) would.

Building from source means maximum compatibility with every cool new module, and the ability to stay up with the developers – not a bad idea, given this project is in active development. On the other hand, using pre-built software is easier, and now provides access to a package manager for one-click installation of the most popular modules (including commercial ones), and account synchronization.

That’s not an either/or choice, you can do both. So, we’ve included some tips on building from source. And a note on that:

Don’t fear the source. Don’t panic. The installation process for the developer version is relatively painless, so for this tutorial, we’ll follow along with that. (If you just want to get going quickly, and our explanation here loses you, you can try one of these pre-built binaries.) And some modules – like, as we write this, the monome modules – do require the developer version.

Translation: if you can follow instructions and use copy/paste, you’ll be okay, and you’ll be done in under about half an hour (or much less depending on what’s on your system)!

Here, we’ll walk you separately through the automatic binary installation and the process of building from source for those who want to try it.

Downloading binaries, package manager for modules

Grabbing the pre-built binaries is definitely the fastest way to get up and running, and it does support a lot of modules via a new automatic package manager.

You’ll find installers at the top of the VCV Rack page for Mac, Windows, and Linux.

With VCV installed (either from source or from the binary), you have just an empty rack – the same as if you bought an empty Eurorack case from the synthesizer store. So, you can add some virtual modules. A series of modules called Fundamental are now bundled in the pre-built binaries, but you can add some more fun stuff to that.

Grab installers automatically via the new plugin manager. Just sign up for a free account to keep in sync.

For automated installation of both free and paid modules, there’s now a plugin manager that works with any version of Rack 0.51 or later. The plugin manager syncs your favorite plugins via your account – a cloud sync for modules, if you like.


From your Web browser, once you’re logged in, you can scroll down and click the green buttons that say ‘+Free’ to add all the available free modules. (Later, when you’re comfortable, some more sophisticated modules are available as inexpensive paid add-ons.) The growing range of free selections already includes a nice collection of virtual modules with real-world equivalents, with modules from popular Eurorack manufacturers Mutable Instruments, Greyscale, E-Series, and Befaco. The button will change from green to red to show you’ve added the module to your account.

Then when you open Rack, just hit the Update Plugins button on the toolbar on the top of the program, and you’ll automatically download those modules to your system.

First, log in.

Then update.

(You may want to check the documentation for some modules, even if using the plugin manager. For instance, the free Ableton Link support provided in Stellare’s module requires manually copying a DLL file. This is still software actively in development.)

Building from source

If you prefer to try the build-from-source approach, here’s how to proceed.

Head to GitHub for the developer version. Choose GitHub on the main VCV site, then click Rack, or head to this link:


Install your build environment. You’ll need to install some developer tools – the tools developers of Mac and iOS software, Linux software, and some open source Windows software would use. The process doesn’t require any actual developer knowledge, though – just some extra steps.

Mac users will need Xcode, which is now a one-click download from Apple’s App Store. You’ll also need wget, a command line file downloader. The two-step method to get that is via a very simple project called Homebrew. Look at the Homebrew site and copy-paste the command for installing Homebrew (right at the top of that page), then wget (the second line on that page).

Windows Since Windows lacks a *nix-style command line, there’s a one-click installation of MSYS2. Then install everything you need via one line from the VCV instructions:
pacman -S git make tar unzip mingw-w64-x86_64-gcc mingw-w64-x86_64-cmake

Restarting MSYS2 before the next step will let you make sure the make command finds the path to the compiler.

Linux users probably don’t need our help, but you’ll want to double check you’ve installed the packages gcc, make, cmake, tar, and unzip.

Then follow the remaining instructions for building VCV from source, which involves simply copy-pasting a few lines of text into the command line.

In short, it’ll be something like this:
1. Grab the source code:
git clone https://github.com/VCVRack/Rack.git

Grabbing dependencies on Windows.

2. Build it:
cd Rack
make dep
git submodule update --init --recursive

But see the VCV site for full instructions. (Don’t forget the submodule update; otherwise, the build won’t find needed headers.)

Add some modules. As with Rack itself, you can build plugin modules from source manually. Those instructions are also on the GitHub page. You’ll find “source” links for all the open source modules next to the ‘free buttons.’ That’ll give you a link to the repository – where up-to-date code from the developer is stored.

cd [change directory] to the plugins folder inside your Rack install, git clone the plugin’s github (or other) repository, and then cd to the plugin folder. Run ‘git submodule update –-init -–recursive’ Chances are this command did nothing – that’s ok. Once these are all done run ‘make’. To add more plugins cd to the plugins folder, clone another repo, run another git submodule update, execute another make run. There are a ton of third party modules out there; they’re listed on the same page as the pluginmanager (just copy source links for what you want to build to the command line):


Doing stuff with Rack

Now you’re ready to start patching.

You start with an empty virtual rack when you first open the software or start a new project – a bit like a Eurorack case awaiting new modules. Right-click anywhere in the Rack window to bring up the Add Modules window. The left-most list represents different collections of modules, grouped by ‘manufacturer’. The list to the right of this contains individual modules. Hovering over a module will bring up its information in the pane to the right – right now, this information only contains the author and tags the developer of the module might have chosen to add.

All of the text present is searchable in the bar on the top of the Add Modules menu, from manufacturer names to module names to tags.

It’s helpful to know common synthesizer shorthand – if you’re looking for a filter you can type “filter” or “VCF,” for example.

Step by step, Hello, world!

Let’s quickly make the Hello World of modular synthesizers – an oscillator plugged into a VCA [amplifier], with that VCA plugged into a soundcard [your audio output] and a scope [so you can see what you’re doing]. This is about as simple as a synthesizer can get. Starting with a blank Rack document, here are the steps to building this first patch:

From a blank canvas, you add the first module.

1. Add an oscillator Right-click to open the Add Modules menu. Click on the manufacturer name Fundamental – that’s the bundle of built-in, basic bread-and-butter modules that now are included with the package. Add a simple oscillator to the rack by clicking VCO-1. The module will be dropped in just under where your mouse was positioned.

The VCO-1 is a basic oscillator with four waveforms – sine, triangle, saw, and square – with PWM [pulse width modulation] on the square wave. An FM [frequency modulation] input, a sync input and a PWM CV input round out the offering. These three inputs let you color the sound by adding envelopes, LFOs, or other modulators to affect the signal over time.

2. Scope it out. Let’s use a virtual oscilloscope to see the signal the oscillator is generating. Right-click again and choose Fundamentals > Scope. Drag any blank part of the faceplate of the module to move it around in the rack and snap it into place; let’s move Scope next to VCO-1.

Connect the oscillator to the scope by dragging to create a virtual patch cable: drag from VCO-1’s SIN [sine wave] output to Scope’s X IN input. Sine waves should appear in the scope!

Now drag VCO-1’s SQR to Scope’s Y IN. You now have both waveforms displayed overlapping one another; drag up the Y SCL knob one notch so it’s easier to differentiate between the waveforms. Also, run the TIME knob all the way up.

3. Add volume. Adding a VCA module is really a fancy way of adding volume you can control both with a knob or by patching in control signal (VC = voltage-controlled). So, right-click an empty area again, and choose VCA.

We’re going to do something that’s not possible on a physical modular (without an adapter) – plugging two jacks into a single hole. Once a patch cord is connected, dragging from that hole will disconnect the cable. So, we’ll patch from an empty hole into the connected hole.

Drag from VCA’s IN on the top half of the module to VCO-1 SIN, and from VCA IN on the bottom half to VCO-1 SQR. Then drag the LEVEL knobs all the way down – this will keep us from accidentally hurting our ears or our speakers with level that’s too hot.

4. And mix. We have two signals – square and sine – that we want to connect to our output via a single cable. Right-click to bring up Add Module and choose VC Mixer. This has the controllable levels the VCA had, but adds a mixed output that combines up to three signals into one – giving you one pipe, one cable to connect out. Patch each OUT on the VCA to CH 1 IN and CH 2 IN.

5. Connect sound to the outside world. This time, to save time, let’s type in our module name. Type ‘audio interface’ into the search bar on the top of the Add Modules window.

Click on the Core manufacturer – these modules ship with all versions of Rack, whether installed via binary or built from source. They offer up integration with the world outside of Rack, through audio interfaces and MIDI inputs. The Audio Interface device handles both input and output, whether to internal software audio interfaces like Soundflower and ReaRoute or to hardware devices.

First, drag a patch cable from Output 1 on the Audio Interface to VC Mixer MIX > OUT. Repeat for Output 2, so you get stereo sound. , and drag from Output 2 to the Mixer Mix Out. Select your preferred output in the drop-down menu (for internal audio interfaces on laptops, look to “Built-In Speakers” on Mac or “WASAPI > Realtek” and the like on Windows). 1 and 2 will most often represent the main left and right audio outputs, but your mileage may vary.

Turn up the VCA LEVEL knobs to twelve o’clock. Run the mixer CH 1 and CH 2 knobs up to about ten o’clock, and then gradually increase the MIX knob on the top so you hear sound. If you don’t hear anything, turn down the knobs and double-check the drop-down interface options and your patch connections.

6. Now let’s play. Drag the VCO-1 > FREQ to change the frequency of the oscillator, and watch the Scope for some groovy shapes. (Try adjusting the SCOPE > TIME to change the displayed scale, and switching SCOPE > X/Y to X+Y for a radial view, for added variety.) For fine-scale adjustment of knobs, ctrl-drag (Mac: cmd-drag). While you’re making groovy shapes, try patching the VCO-1 TRI output into the VCO-1 FM Input, and add some of the FM knob.

7. Stop the endless drones. Let’s give this patch some life by adding an ADSR and an LFO-1 from the Fundamental modules collection. The ADSR is a standard Attack-Decay-Sustain-Release generator. It’s used to make envelopes that open and shut on a contour, in response to a gate input. The LFO-1 is a low-frequency flavor of VCO-1, with an additional FM Input in place of the VCO’s 1/v Oct and a Reset input in place of the VCO-1’s Sync input.

Patch the LFO’s square wave output [SQR] into the gate input of the ADSR. Patch the OUT of the ADSR into the EXP inputs of the VCA channels – Exp and Lin refer to exponential and linear, which are different ways of interpolating the incoming envelope. Digital modular is fun! You should also move the scope patches from the oscillator to the VCA outs, so you can see the shape of the envelope in the scope. You’ll probably need to adjust X and Y Scale a bit.

8. Mo modular modulation. Here’s where we go crazy: right-click your ADSR and select ‘duplicate’ to create an additional ADSR envelope. Do the same with the LFO, and then go ahead make a third LFO the same way. Unpatch one of your VCA CVs and patch it into this newly-created ADSR Out. Patch one of the new LFO’s Square wave outs into the Gate input on the new ADSR. On the other LFO, the one without anything patched, patch the Square wave out into the Reset inputs of each of the other two LFOs. This last patch will retrigger the two LFOs, so they can start on a “downbeat” determined by the leading post of the LFO. Groovy!

While we’re in here, let’s add a couple of VCF’s, and patch them in line between the VCAs and the mixer. For a bonus bit of modulation we’ll patch the ADSRs into VCFs opposite from their assigned VCO’s – let’s put the first ADSR on the second VCF’s Freq CV input, and patch the second ADSR into the first VCF’s Resonance CV input. Turn the Freq CV knob on the first VCF up a little bit, and make sure your LFO driving the resets is slower than the other two.

Free downloads: PolyBlip, Ableton Push/MIDI, and Extras

Since you’ve made it this far, you’ve earned a reward. We’ve got a patch, a maxforlive device, and a module installation script and meter for you.

First up: the PolyBlipper, a patch I made around this idea of LFO triggering with some added FM modulation fun thrown in the mix.

PolyBlipper [VCV patch download]

Download it and open it up from within VCV, and you’ll hear nothing – until you select your driver and soundcard on the audio interface, and then run up the Mix knob on the VC Mixer in the top row, above the audio interface. This is a simple patch, but it can offer up a wide variety of sounds.

The main concept of the patch is a more complicated version of the LFO-triggered helloworld patch we built in the tutorial above. Two almost-identical voices sit to the left of the VC Mixer and Audio Interface. Both feature a VCO-2 (a waveform-morphing oscillator with a CV input for wave shape) with FM input from the mixed outputs of a VCO-1. Mixing the VCO-1’s outputs creates a complex modulation oscillator, for some fun West Coast vibes. Each voice has its own gate, and additionally the first voice has its wave shape modulated by one of the “sequencer” outs. For a different flavor, you could modulate this via an ADSR, such as one of the ones already present in the patch. Adding a VCA will let you scale the effect of the modulation, as well.

To the right of the mixer and audio interface are three LFOs and two voltage controlled mixers. These act as something of a sequencer – the waves act as triggers for the ADSR, after being combined in the mixers below. Each mixer triggers one of the voices, by combining the signal in different ways on different mixers you can find unified polyrhythmic sequences, such as the one on the patch at the start.

For some applied coursework – can you figure out how to get each of the three LFOs triggering the oscillators resetting poly-rhythmically, in overlapping sets of two? Can you figure out how to reset everything, including the above, so you get repeating measures of music? Answers next week, along with some tips on using VCV as an effect.

Next, we’ve got a Max For Live device called AbleRack that sends MIDI from your Push 2 (or anything else mapped to the device’s knobs) out to VCV Rack for conversion to CV via Rack’s Core MIDI CC-To-CV Converter.


Drop this on an empty MIDI channel, and then select the desired MIDI output in Live’s MIDI Out dropdown menu. Make sure to set the desired MIDI channel as well – incoming MIDI from the device and your Push 2 (or other controller) will be remapped as well. You’ll notice an offset knob on the device – turning this knob clockwise and then hitting the button will add the stated value from the knob to the 16 knobs present. This is MIDI, so it’s important to remember that 0 is a value.

In VCV Rack, add a MIDI-to-CV module, and then patch the CV Outs as desired. The text boxes above the outputs denote which MIDI CC the output is listening for. You can change these text box values to listen for different CC’s, which is where the offset knob comes in – multiple MIDI-to-CC converters and multiple channels of AbleRack can be used simultaneously, and within live each knob can have it’s own automation per-clip. Adding a MIDI-to-CV converter to rack and selecting the same MIDI Port and channel will let you use a keyboard alongside AbleRack. I put each instance of AbleRack I use in a set on its own channel, and route all the MIDI through its own IAC [“Inter-Application Communication”] Bus (on Mac) or LoopMIDI port (on Windows). (See instructions for Mac/IAC Bus or download loopMIDI for Windows. LoopBe1 is another excellent MIDI loopback driver for Windows.)

Lastly, we’ve got a script and a fun toy from our friend Jeremy Wentworth, creator of the Wavhead and several other notable modules.

jeremywen/community-builds-from-source.sh [build from source script download]

The script is super-helpful – put it in your plug-ins folder and run it with the terminal, and the script will download and build all the plug-ins listed in the community repo.

He’s also got a special module for you to play with – an X/Y version of his famous WavHead meter, with a special alternative logo switch for changing up your flavor and adding some Berlin to your patch. Download binaries for all systems:


We’d like to thank Jeremy for all of his help providing technical read-throughs and proofreading of this article. His website is a treasure trove of fun bits of code and other things to poke at, including this browser-based synthesizer and this super-weird browser-based random syllable generator.

By now you should be relatively comfortable using Rack, know where to find the community (in the Official VCV Rack User Group on Facebook) and have a good sense of what you’d like to use the tool to do. Have fun exploring the modules and patching up a storm! I’ll be keeping an eye on Rack, if anything big happens I’ll be back with more coverage.

Ted Pallas makes techno as Greco 727, and performs with Chicago’s M Sylvia under the name Str1ke. Ted recently released The Sor EP on Lisbon’s Toxic Recordings, available on Beatport. Get in touch at http://savag.es

The post Step one: How to start using VCV Rack, the free modular software appeared first on CDM Create Digital Music.

Holiday App Sales!

Delivered... Ashley Elsdon | Scene | Fri 29 Dec 2017 1:12 am

After letting you know about Black Friday Sales we thought we’d bring you some handy post holiday app sales too. Here’s what’s on sale, and, where possible, when the sale period ends (if we know it). You’ll find a bargain in here for sure!

iOS DAWs and Sequencers:

Steinberg’s Cubasis 2 + all it’s IAPs are half price. Main app is now $24.99 (was $49.99) … On sale until the 9th of Jan
BeatMaker 3: is 33% off right now at $24.99 (was $39.99)
Korg Gadget: now $19.99 (was $39.99, IAPs on sale too) … On sale until the 9th of Jan
FourTrack: now $2.99 (was $4.99)
StudioTrack: now $6.99 (was $9.99)
KORG iELECTRIBE for iPhone: now $9.99 (was $19.99) … On sale until the 9th of Jan
iELECTRIBE Gorillaz Edition: now $9.99 (was $19.99) … On sale until the 9th of Jan
Fugue Machine: now $4.99 (was $9.99)
Genome MIDI Sequencer: now $5.99 (was $9.99)
Egoist: now $13.99 (was $29.99)
iMIDIPatchbay: now $6.99 (was $12.99)
Thesys: now $8.99 (was $14.99)
BeatHawk: now $4.99 (was $9.99)
iSyn Poly: now $1.99
Arpeggist: now $5.99 (was $7.99)
Arpeggionome Pro | matrix arpeggiator: now $4.99 (was $9.99)
Arpeggionome for iPhone | matrix arpeggiator: now $1.99 (was $4.99)

iOS FX apps:

GuitarTone: now $1.99 (was $2.99)
Final Touch – Audio Mastering and Post Production: now $2.99 (was $19.99)
JamUp Pro: now $9.99 (was $19.99)
ToneStack: now $4.99 (was $9.99)
Effectrix: now $8.99 (was $17.99)
VC-1 (excellent chorus FX): now $2.99 (was $5.99)
Turnado: now $13.99 (was $19.99)
WOW Filterbox: now $8.99 (was $14.99)
Sliver: now $2.99 (was $5.99)
Italizer: now $4.99 ($9.99)
Bark Filter: now $6.99 (was $9.99)
BandShift: now $6.99 (was $9.99)
AudioEffX: now $6.99 (was $9.99)
Tap Delay: now $4.99 (was $6.99)
Harmony Voice: now $4.99 (was $6.99)
Deregulator: now $0.99
3oomph: now $0.99 (was $1.99)
ZhSh: now $0.99 (was $2.99)
6144 equalizer by DDMF: now $4.99 (was $9.99)
FuxEQ: now $4.99 (was $6.99)
NYCompressor: now $3.99 (was $8.99)

iOS Synths:

KORG iWAVESTATION: now $14.99 (was $29.99) … On sale until the 9th of Jan
KORG iMono/Poly: now $14.99 (was $29.99) … On sale until the 9th of Jan
Korg’s ARP ODYSSEi: now $14.99 (was $29.99) … On sale until the 9th of Jan
KORG iDS-10: now $9.99 (was $19.99) … On sale until the 9th of Jan
KORG Module: now $19.99 (was $39.99) … On sale until the 9th of Jan
KORG iM1: now $14.99 (was $29.99) … On sale until the 9th of Jan
KORG iMS-20: now $14.99 (was $29.99) … On sale until the 9th of Jan
KORG iKaossilator: now $9.99 (was $19.99) … On sale until the 9th of Jan
KORG Module Standard for iPhone: now $14.99 (was $29.99) … On sale until the 9th of Jan
KORG iELECTRIBE for iPad: now $9.99 (was $19.99) … On sale until the 9th of Jan
KORG iPolysix for iPad: now $14.99 (was $29.99) … On sale until the 9th of Jan
miniSynth 2: now Free
Magellan: now $4.99 (now $9.99)
VoxSyn: now $6.99 (was $9.99)
dot Melody: now $1.99 (was $4.99)
Kauldron: now $4.99 (was $9.99)
Addictive Pro: now $11.99 (was $19.99)
S-Modular: now $2.99 (was $5.99)
KASPAR: now $9.99 (was $19.99)
Unique for iPad: now $8.99 (was $14.99)
Unique for iPhone: now $0.99 (was $4.99)
Cyclop for iPad: now $13.99 (was $24.99)
Galileo Organ: now $4.99 ($9.99)
Magellan Jr: now $1.99 (was $4.99)
Addictive microSynth: now $2.99 (was $4.99)
Addictive Synth: now $4.99 (was $6.99)
Tera Synth: now $11.99
Cube Synth: now $6.99 (was $9.99)
76 Synthesizer: now $0.99 (was $1.99)

iOS Drums:

DrumKick: now $2.99 (was $5.99)
DrumKick for iPhone: now $0.99 (was $2.99)
DM1 for iPhone: now $0.99 ($2.99)
Drummy – Get Started Making Beats: now $0.99 (was $1.99)
Patterning Drum Machine: now $7.99 (was $9.99)
synthQ: now $2.99 (was $5.99)


Steel Guitar: now free
AirVox: now $0.99 (was $2.99)
Chordion : Musical Instrument & MIDI Controller: now $2.99 (was $4.99)
SpaceVibe: now $2.99 (was $3.99)
Ribbons : Expressive Electronic Instrument: now $3.99 (was $5.99)


KORG cortosia – GOOD SOUND TUNER: now $4.99 (was $9.99)
iAudioGate: now $9.99 (was $14.99)
sir Sampleton: now $0.99 (was $1.99)
GlitchBreaks: now $2.99 (was $4.99)
ChordFlow: now $4.99 (was $9.99)
ThereMIDI: now $3.99 (was $8.99)
Midiflow: now $3.99 (was $5.99)
ReSlice: now $9.99 (was $14.99)
Dub Siren DX -DJ Mixer Synth + Reggae Dub Radio: now $2.99 (was $3.99)
GaMBi: Chiptune Player: now $3.99 (was $5.99)
Audio RTA: now $2.99 (was $4.99)
Audio Spectrum: now $0.99 (was $2.99)

Last checked 31/12/2017, 14:41 (GMT).

The post Holiday App Sales! appeared first on CDM Create Digital Music.

Discover Germany’s 9 Most Epic New Year’s Eve Parties

Delivered... By EB Team. | Scene | Thu 28 Dec 2017 11:41 am

The post Discover Germany’s 9 Most Epic New Year’s Eve Parties appeared first on Telekom Electronic Beats.

The releases never stopped – The Hindu

Delivered... "Indian Electronic Music" - Google News | Scene | Thu 28 Dec 2017 7:27 am

The Hindu

The releases never stopped
The Hindu
Bengaluru-label Consolidate deserves special mention for its class-apart releases that give much promise for Indian electronic music, even as the masses turn to producers such as Nucleya. The next-level records from Consolidate include Aerate Sound's ...

Arturia’s Fairlight, Clavinet, DX-7, and Buchla Easel are each a steal

Delivered... Peter Kirn | Scene | Wed 27 Dec 2017 8:11 pm

Arturia now offer these classic instruments individually – with another 50% off through January 10 – and have video tutorials to teach you how to use them.

Let’s have a big round of applause for democratization. There was a time when something like the Fairlight CMI was so out of reach, just owning one would probably land you some big gigs. Now, you can get software recreations that offer you the musical possibilities of these instruments, for the price of a nice date night.

We already had a look at the full update of Arturia V Collection 6 – basically, the software versions of a whole bunch of keyboard instruments and synths, plus tools for organizing and playing them.

The story here is, maybe you really just want the Fairlight, or just the Clav, or just the Buchla, or just the DX-7. Now those three instruments are available individually.

The Buchla story is especially interesting. Apart from getting the authorized stamp of approval, Arturia say they’ve gone component by component modeling the original Easel. And while full rack modulars are all the rage these days, it’s really the way the Easel distilled that sound into a single, integrated design give it a singular vision. It’s not just the “West Coast” idea in terms of signal flow: it’s a West Coast instrument.

Then, take the reboot from Arturia and its new features, and you get a relationship that’s a bit like Bob Moog’s reimagining of the Minimoog as the Minimoog Voyager. It’s authentic, but it’s also modern.

The overview video explains the basic idea:

But now there’s a tutorial series with Glen Darcey. (End of an era: Glen, who managed a lot of Arturia’s recent successes including the Beatstep and ‘Brute lines, announced early this month that he’s moving on to start a new brand. We wish him the best!)

Glen also takes us on a tour of the Fairlight CMI, the ground-breaking digital instrument that defined digital as we know it. I always admired the Fairlight’s unique interface and workflow, so this seems to me as much a chance to get your hands on that as the distinctive sounds it made:

Flashback: a few weeks back we featured Steve Horelick showing off the same hardware back in the early 80s. Steve here is speaking to kids (hi there!), but you might know his voice from his terrific Logic videos from our present decade.

The DX-7 sees a terrific recreation here, one that makes editing uncommonly accessible – just in time for FM to see a full resurgence:

Clav fans, there’s a tutorial series on that, as well (plus announcement video to give you the big picture):

Pricing: 50% off the individual instruments makes them each US$/EUR 99, through January 10 only.

The full version of V Collection is US$/EUR 399 (normally 499), same.

Upgraders: you’ll need to log in to see customized pricing.






The post Arturia’s Fairlight, Clavinet, DX-7, and Buchla Easel are each a steal appeared first on CDM Create Digital Music.

Copyright Office Extends Comment Dates on Proceeding Looking at MVPD Reporting Obligations and the Definition of Cable System

Delivered... David Oxenford | Scene | Wed 27 Dec 2017 5:56 pm

Recently, we wrote about a proceeding initiated by the Copyright Office to review the reporting obligations of cable and satellite television systems related to the statutory license that permits those systems to carry the programming of local television stations.  Systems must report information including revenue and subscriber information that allow royalties to be computed.  This proceeding also included a section asking for comments on the Copyright Office’s tentative conclusion that the Copyright Act’s definition of a cable system did not extend to online services, like those that had been proposed by Aereo and FilmOn.  See our article here about the Copyright Office’s request for comments.  The Copyright Office has just announced that they are extending the comment period in this proceeding.  Comments are now due March 16, with replies due on April 6, 2018.

Roland gets you going on their DJ controllers, Serato with free samples

Delivered... Peter Kirn | Scene | Tue 26 Dec 2017 7:59 pm

The Roland-Serato combination stakes out a clear niche: adding live techniques to DJ routines. Now some free sounds and videos will get you started.

There is a dizzying array of gear out there, and a lot of really similar. I’ll talk separately about the DJ-XXX line from Roland, but it’s pretty easy to sum up. All three units have built-in TR-S drum machines from the Roland AIRA line for 808 and 909 sounds, with the 505 and 808 adding additional dedicated controls and progressively more AIRA features and more mixer functionality. (The 808 even has a vocal processor on it.) And the Roland devices also give you more hands-on access to Serato’s sample playback and sequencing features. Combine this with wheels that are really, really good, and have uncommonly low-latency performance, and these are exceptionally playable controllers. (That’s what you can’t see in the photos – I’ve tried all this gear, and only the Roland controllers at the moment really feel responsive; other than that you’re into digital vinyl or CDJs.)

Roland obviously want to get your attention on those sampling features, as they’ve partnered with Loopmasters to release some free content.

There’s no proof of ownership, so you can also give these things a go even if you don’t yet own the hardware. (Cough.)

Disclosure: CDM is partnering with Roland to release some of our own guides to the DJ-XXX devices.

Onto those sounds: the TR-S sequencer can trigger internal analog-modeled 808 and 909 sounds, which is a little like having a mini AIRA TR-8 in your hardware. (TR-808 and 909 sounds are there now; TR-606 sounds are promised, too, in a future update; 606 and 727 were rolled out to the AIRA TR-8 in the fall.) But when you’re ready for some different sounds, the TR-S can also be used together with Serato’s internal sample playback facility.

There are actually two separate DJ sample sets. They’re also delivered as WAV, so — for instance, I dropped these in an Ableton set as well as into Serato for a bit of messing about.

First, the ROLAND TR-S DJ SAMPLE PACK is available on the download pages of the DJ-202, 505, and 808, so for example:


That gives you a whole new set of kits. All you have to do is tick a box to approve a user agreement. Then you get a few megs of sounds organized into what they call 80s (yay!), Drum’n’Bass, EDM, and Trap (though you can gleefully ignore those genre labels if you like, they’re just kits).

More specific are the Loopmasters sounds. If you’re willing to sign up for a free Loopmasters account (if you have one already, you’re sent straight to the download), you can get another 13 megs of sounds. (You can even untick the box signing you up to the newsletter.) They’re here:


These aren’t so interesting on their own – these are mostly vocal one-shots, stabs, and sound effects – but they’re there more to show you what someone good with sample manipulation can really do on these. Watch DJ Skillz with the same kit. The takeaway – pitch manipulation and scratch skills can transform this into something else entirely:

That’s already been the strength of Serato – creating a core set of effects and sampling and sequencing features and then making it easy to access them. The Roland hardware lets you get responsive scratch results with wheels and without the hassle of digital vinyl, plus an intuitive layout for the other features of the software.

This all draws heavily from hip-hop, but I think even in other genres (hihi, techno) there’s potential for using this hardware to unlock hybrid sets where you jam on the kits or remix tracks – especially useful when you’re playing your own productions and want them to be recognizable but don’t want to hear them verbatim all over again. And that’s to say nothing of the potential for unlocking synchronized visuals, another Serato strength.

Here’s a look at that DJ-505 sampler access. (The DJ-808 is basically identical; the DJ-202 also can access the sampler but has fewer controls, so it’s a portability/cost tradeoff equation.)

And watch more of what this can look like in action – with OP, Recloose and DJ Spinna:

More on the DJ lineup and the rest of the AIRA line (neon green!):


The post Roland gets you going on their DJ controllers, Serato with free samples appeared first on CDM Create Digital Music.

Sampling Stories Vol. 12: Ratkiller

Delivered... Hannes Liechti from Norient | Scene | Tue 26 Dec 2017 7:00 am

In this review comment on the latest release by Mihkel Kleis aka Ratkiller our author argued that the artist serves as a perfect example for musical intertextuality. I would now claim that the sampling practices of experimental electronic artists such as Kleis show the total disembodiment of the samples from their sources. This – quite widely used – approach becomes apparent when both listening to the tracks but also looking behind the scenes of its production.

Ratkiller at Kalana Saund Festival, July 2017 (Photo © by the Artist)

Sampling does not always mean quotation, to intentionally refer to someone or something. Accordingly, not all sample-based music is intertextual. Within the tracks of Estonian producer Mihkel Kleis, aka Ratkiller, it is the sheer presence of a vast number of (randomly) sampled sounds that makes the referentiality of a single sample secondary if not even unrecognizable. What we can experience here is the almost complete disembodiment of the samples from their source, a process soundscape artist R. Murray Schafer has called «schizophonia».

Intertextuality, as it is defined by French literary theorist Gérard Genette, describes «a relationship of copresence between two texts or among several texts: that is to say eidetically and typically as the actual presence of one text within another» (after Lacasse 2000: 148). Sure, to achieve such a «copresence» it might be enough for a text to simply appear within the other text, albeit the actual perceptibility or – in other words – its character as a quote is not really given. It was Richard Dyer, professor of film studies, who introduced the distinction between «textually signaled» and «textually unsignaled» forms of intertextuality (Dyer 2007: 24) as a means to deal with this problem.

However, I would argue that speaking of «intertextuality» in such cases as Ratkiller could be misleading. It is not really about quoting something, it is much more about being influenced and working with a certain stock of audio material. This becomes especially obvious when looking behind the scenes. I have emailed with Mihkel and asked him about his sampling strategies and this is what came out: a vivid picture of his sampling approach, grouped into topical quotes.

«Using samples is quite irrelevant»
Mihkel Kleis aka Ratkiller talks about his strategies of sampling.

I assume sampling is used by people who constantly listen to a lot of new music (not all the artists do), so whatever I choose to sample basically relies on what I have been listening.

Around 2010 I began to record and mix music on my own using the sound editor Audacity. The first things I did – just to try out different possibilities of the program – were a couple of mashups. At that point I started to collect samples.

I’ve tried other software a couple of times (I can’t even remember which ones), but they just didn’t make sense to me and I don’t really have much interest in learning anything only because it could maybe be useful. Actually I have no interest in learning anything at all. Someone who doesn’t know anything about music recommended Audacity for me and it was really easy to understand. I had absolutely no clue how to edit music before that and it just went on from there step by step.

At first I was focused on rhythm loops, but at one point this approach began to seem too limited and simplistic. So now I mostly use short non-repeating samples, which are often just tiny fragmentary sounds stripped out of context.

#sampling 1
Here is one of many possible ways of how I sample. I sometimes randomly pick some samples from my sample folders and throw them into a new playlist in a media player. I then play around with these samples, just with the possibilities of the media player (play, pause, volume) as long as some sort of a sensible pattern appears. While doing this I record everything in Audacity. The recording then may become the foundation for building the narrative of a new composition.

#sampling 2
This track actually is one of the rare cases where my sample wasn’t an accidental find. I took this spoken word part from the end of the song «Beptized in Decadence» by French death/thrash metal band Massacra as a foundation. I have had this tape since the mid 1990s and this interlude always amused me a lot. There is some kind of dead serious straight to the face misanthropic naivety in it and it is perfectly in rhyme like a children’s poem. Finally I am very glad that decades later I found a weird and unexpected way to reuse it.

It does not make your music cooler if you are using samples that are part of the general cultural consciousness such as a cool dialogue from some cult film or a groovy loop from a well known jazz album. There is no retro charm in using these kinds of samples – it is just lame fanboyism. It is like trying to tell a common joke as your own – what could be more embarrassing? Of course it can be done, but it takes extra wit to make it work.

Basically I am constantly attracted to everything unusual and curious, but I use a sample only if I find a way to reinterpret it. At that point, extremely bizarre curiosities such as The Sounds of the Junk Yard, released by Folkways Records in 1964 (probably the world’s first industrial noise album) and sound clips from some random Hollywood blockbuster comedy have equal importance.

Indeed, a lot of material that I am sampling happens to have strong cultural meaning.

In the beginning of 2017, I spent a month listening to avant-garde jazz of a certain period that emphasized spiritual jazz which is very politically charged. From there on I got interested in black academic composers – I have sampled Samuel Coleridge-Taylor more than once.

I do not think that it is important for a listener to recognize the sample source. Actually, it would be better if they do not, because making a tribute or homage to something specific is not my point. These samples are there just as brief glimpses to the wide field of inspiration.

It is quite hard to articulate the meaning behind my samples. There is no theory or ideology, it is all based on intuition and the procession of a sample is ready when I consider it as aesthetically pleasing enough.

#failure 1
At first I may get excited about a groovy loop taken from old library music album, but when I have had enough time to look into it critically and objectively, there is nothing I can do to make it work better. The sample appears perfect just the way it is and only in the original context. This happens all the time.

An example: Cornelius Cardew’s The Great Learning. Originally a piece of aleatory music: a group of people in a room plucking different instruments and whatnot in random order and it is sparsely scattered over three hours. I found dozens of samples there, short loops, and they basically sounded good enough on their own. But then I thought why would I do something like that? Why would I reduce this bold experimental musical statement into some sort of accessible no-brainer club format? I mean almost everything sounds good when you are looping it. It was just way too easy, there was no thrill at all in making something like that.

#failure 2
When something does not work at all I usually delete the sample file and eventually forget what it was. There are a lot of samples that I have kept after trying and not succeeding though. It is because I have not been able to realize what I had in mind. Often those ideas are very vague and fall apart right at the moment when I start working.

Whatever music I am working on, I approach it as I would play jazz improvisation. Well, it is just my imagination, I know nothing about jazz in the academic sense. I understand improvisation as being open to changes in rhythm and harmony, building rhythm as narrative, etc. And if I can not use that approach, I feel very insecure. That is why I usually fail when I try to compose something in a style with strict rules. This ruling out of what can and can not be used applies to my way of creating music in general.

I am trying to evoke certain feelings with music. My tracks usually turn out as abrupt, tense, and restless. I want them to be driven all through by the feeling of surprise, resulting in a cathartic confusion. I am especially talking about my recent yet-unpublished works where it is all about the right order and length of samples, how to arrange them to get that feeling.

I do not know of any rules about what should not be sampled. I think that reusing and modifying has been one of the core elements of music since the beginning of time. In that light I have no ethical issues about taking something done by other artists as long as I can add a new angle to it. It is not important what one uses, but what can be made of it.

Originality is one of my most important artist dogmas, although I do not quite know why. I read somewhere that it first became an issue during the movement of Romanticism. Suddenly the artist became a rebel, an innovator. I do not really know how this may reflect in sampling.

Using samples is quite irrelevant. I do it because it is just a sound, an available audio source which can be processed. There is no extra meaning in it for me. The samples are like separate notes, a whole lot of them, and I combine them as a puzzle, trying to fit them together and in the end there is a picture. That kind of sound collage is my preferred method at this point.

#alternatives 1
My music does not have to be made with samples. At the moment I am also working on another material, recorded in a studio on drums, piano and bass. I am about to cut the tracks into tiny pieces in order to reconstruct it in a similar way to my sampling practices.

#alternatives 2
Just a few days ago I tried another sampling alternative. I was recording the final synthesizer parts to a new work. It was mostly based on samples found while watching movies: dripping water, footsteps, heavy breathing, and that kind of stuff. In the end, I took all of it out and kept only those synth parts. They sounded good enough on their own. It was like around-the-corner solution for doing ambient.


Dyer, Richard (2007): Pastiche, London: Routledge.

Lacasse, Serge (2000): «Intertextuality and Hypertextuality in Recorded Popular Music» in: Moore, Allan F. (ed.) (2007): Critical Essays in Popular Musicology, Aldershot: Ashgate, p 147-170.

The email conversation took place between 10.11.2017 and 15.12.2017. This article has been published in the context of the PhD research on sampling in experimental electronic music by Hannes Liechti. For more info click here.

Read More on Norient

> Lucia Udvardyová: «Meta Music for the 21st Century»

Groove Rider GR-16 is a hardware inspired groovebox with everything on one page for maximum inspiration

Delivered... Ashley Elsdon | Scene | Mon 25 Dec 2017 1:13 am

Well I’ve always liked groove boxes and apps where you can do everything in one place. From the developer who brought us Poison-202, comes Groove Rider GR-16. This is a professional step-sequenced groove box, inspired by professional hardware drum machines and rhythm boxes.

It has a powerful Poison-202 based two oscillator synthesizer engine, plus a big variety of included PCM drum samples, insert/send/master effects, arpeggiator, automation recording, modulator, ADSR and filter block, and more! Built-in factory pattern library includes patterns in different music styles, which will inspire you (the list will be appended with the regular updates).

Check out the patterns demo video:

One remarkable feature of GR-16 is that it has made all of the controls available on just one single screen, like on a real groove box device. Groove Rider GR-16 lets you access almost all useful parameters from this one single screen, and so you can forget about loads of sub-windows and dialogs, which can ruin your inspiration and workflow. Groove Rider is the fastest path from your imagination to reality!

You can use GR-16 as a ready-to-go realtime musical instrument (groove box) in your jam sessions together with Ableton Link feature to synchronize it with your other music gear. Groove Rider is also very handy for quickly sketching your musical ideas, allowing you to instantly record them directly by using the Record function. Making music becomes easy and fun, in contrast with boring note drawing process and dealing with tons of files and expensive plugins in the DAW’s! Don’t loose your inspiration, boost it up with Groove Rider!


  • Ableton Link support
  • Audiobus support
  • Inter-App Audio support
  • synth engine is Poison-202 based: 2 oscillators, 5 waveforms (Saw, Pulse, Sine, Triangle and Super-Saw)
  • synth oscillator modulation types: Ring, Sync, PW and XFM
  • 83 available oscillator configurations
  • Filter module with LP, BP, HP, Notch type filters, 12 and 24 dB/octave
  • amp module
  • ADSR envelope, assignable to Amp and Filter
  • Modulator module with 9 LFO modulation shapes x 6 modulation destinations (Pitch, Filter, Level, Pan, Osc Edit, IFX Edit)
  • voice portamento (Slide)
  • polyphony up to 32 voices
  • 16 sounding parts per pattern
  • 16 steps x 4 bars per each part
  • each step consist of up to 4 voices (notes)
  • each step can be time shifted forward/backward a fractional value
  • assignable strokes for each step (to play several notes at one step)
  • assignable probability (chance) for each step note
  • 12 send effect types, one send effect per pattern
  • 22 master effect types, one master effect per pattern
  • 34 insert effect types, one insert effect per each part
  • master brickwall Limiter (can be switched on/off)
  • Arpeggiator with 6 modes and over 30 rhythm patterns
  • Scale play mode with 36 different scales to select from
  • Chords and Notes play mode
  • more than 30 different midi groove templates
  • up to 256 user patterns to store in one user pattern bank
  • import & export user patterns via iTunes File Sharing and Files.app

Minimum recommended devices:

  • iPhone 5 and newer
  • iPad Air and newer

Groove Rider GR-16 costs $9.99 on the app store now, which includes a 50% off launch discount

The post Groove Rider GR-16 is a hardware inspired groovebox with everything on one page for maximum inspiration appeared first on CDM Create Digital Music.

Have yourself some very procedural holidays in your browser

Delivered... Peter Kirn | Scene | Sun 24 Dec 2017 11:47 pm

Holiday greeting cards: you can buy them in a supermarket. You can draw them in crayon. Or you can custom-code a generative interactive Web greeting.

Continuing something of a tradition on CDM, of course, we get to share the latter.

Robert Thomas writes with his creation. The musical component is probably the most interesting – and it shows off what can be done with free tools, including a Web sound engine that can read patches made with Pure Data.

Robert explains:

For a bit of holiday fun, here is a little interactive web based procedural audio collaboration I did with visual artist Matt Nish-Lapidus.

The audio is built in Pd and deployed through heavy into C then emscripten to JS and running in browser – fun!

Try it online:

And your family just sends a picture or a Web card. Wow.

If you want to have a go at creating something like this yourself, check:

Pure Data
Heavy (runs on a crazy number of platforms now; worth a second look!)

Both audio and image represent open source projects that began life in conventional desktop environments, then were ported to versions that would run in browsers. On the sound side, that means Pd, the 90s-vintage cousin of Max/MSP, which saw an API-compatible(-ish) engine coded from scratch as Heavy. For visuals, you get p5.js, a JavaScript port of the Java-based Processing to JavaScript and the Web. The p5.js project began with the extraordinary LA artist/engineer Lauren McCarthy, but has since become an official target of the Processing API.

So, you have visual patching for musicians in Pd/Heavy for sound, and easy creative coding for artists in Processing/p5.js for picture.

Heavy has an interesting pricing model, too. You can use it commercially with the open license; you pay more for commercial support, closed-license projects, and the like. Processing relies on the Processing Foundation and users like you.

You know you’re a nerd when this is what you do on your holidays. Wouldn’t have it any other way. We’ll keep coming at you more or less right through the New Year’s.

The post Have yourself some very procedural holidays in your browser appeared first on CDM Create Digital Music.

Maxima is an audio effect designed to provide automatic gain control of your audio materials

Delivered... Ashley Elsdon | Scene | Sun 24 Dec 2017 11:40 pm

Maxima is the second app to come from Frederic Corvest. The first was FAC Chorus, both a Mac and an iOS version. Now Fred brings us Maxima, which is an audio effect designed to provide automatic gain control of your audio materials to ensure that the levels stay consistent and never exceed 0dB. It’s a clever idea, a combination of dynamic processors that can be set to provide a gentle transparent signal boost respecting the initial dynamic or significant colorised level maximisation. Thanks to a unique signal path, algorithms and a small set of parameters, Maxima makes a complicated task really very easy indeed.

In addition to the classic final stage application, Maxima excels on individual tracks too. With a few changes it’s easy to go from the common gain deviation compensation, e.g. for vocals, to drastical audio changes that will bring your audio material to new territories: boost reverb tails, flattenize drums… The applications are various and the possibilities are limitless.

Get the final touch!
Maxima definitely makes audio louder and that makes it an effective tool in many mastering engineers’ arsenals.

Be creative!
Emphasis subtitle details, sometimes floor contains treasure, you will have a completely new listen to your old tracks! The audio background may indeed contain noise, but sometimes also “pearls” that may be revealed.

Go further!
Tired by the advertisement boost, or important speech level variation in broadcasting? Use Maxima to maintain the level constant. DJ’s may also benefit from the effects to normalise in real time the level of the mixed tracks.

As with all FAC products the interface has a unique sober look and provides a great user experience. Maxima also brings a real-time multi-waveform graph having a 6s buffer of the audio material before and after operations, this will help on setting the right parameters and have a visual feedback.

Maxima costs $6.99 on the app store:

The post Maxima is an audio effect designed to provide automatic gain control of your audio materials appeared first on CDM Create Digital Music.

Sequle brings musical scales based sequencing to your iOS workflow

Delivered... Ashley Elsdon | Scene | Sun 24 Dec 2017 11:20 pm

Sequle is musical scales based sequencing app. It uses musical scales theory to produce notes for MIDI-interface.

It has six tracks with note lengths, velocities and transpose. Tracks can have invidual pattern lengths and speeds. Song mode for more melodic performances. Minor and major scale and global transpose. It can be clocked either internally or from MIDI clock.

Using scales instead of specific notes makes everything sound good and it gives you more space to just play with the sounds get inspired easily.
Use note length and velocity to create rhytmical melodies. Vary pattern length to create polyrythmic sequences.

This app works with Camera Connection kit and most of the USB->MIDI converters.

The app is free to download but it has a limited playing time. You can purchase the full version with in-app purchase option and support the development.

Sequle is free on the app store, but the full version is an IAP away:

The post Sequle brings musical scales based sequencing to your iOS workflow appeared first on CDM Create Digital Music.

Next Page »
TunePlus Wordpress Theme