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  3. lucasasdelli

    Novation Supernova II

    I own the keyboard version; sometime it's hard to believe that isn't an analog instrument. The oscillators could be slightly influenced with drift values, to effectively emulate some analog instable tuning, and deep saws are full and shaking. The filter is good, creamy and with three different slopes. Three ADSRs are enough to modulate the synthesis, and the powerful effects section is more than a mere complement. The keyboard feels like a Fatar one. There are lots of electronic music arpeggios, ready to be played with great effect. I can't really imagine what sholuld be missed on this instrument.
  4. lucasasdelli

    Novation Super Bass Station

    A little big monster. It features two DCOs, a fully analog VCF with good behavior, and on the output an analog BBD chorus is provided, using the identical circuitry of Roland Juno-6. The sound is really fat, deep and with fast envelopes when needed. Noise and S&H make a complete setup for this 1-U rack unit. More units could be daisy-chained via MIDI to build up a discrete analog polyphonic synthesizer, thus sharing the MIDI data across played notes. It even features CV and Gate connections, so that it could act as a MIDI/CV converter. All MIDI control changes are sent and received in real time, so it is possible to manage it with a knobby MIDI controller.
  5. Jack Hertz

    Borderlands Granular

    Borderlands Granular uses a technique called granular synthesis, which involves the superposition of tiny fragments of sound, or “grains," to create complex, evolving timbres and textures. The app is designed to be easy to use, emphasizing gestural interaction over knobs and sliders. Create, drag, and throw pulsing clouds of grains over a landscape of audio files, or use the built-in accelerometer to sculpt sound with gravity. Simply double tap to begin! Borderlands comes ready to play with default sample content included, but you can also load and export your own sounds via Audiobus, Audioshare, and real time input from the mic or external audio interfaces. Re-sample recordings made within the app on-the-fly for layers-upon-layers of granulation. You can also improvise alongside the app - touches and parameters may be recorded, looped, stored, and duplicated. Entire configurations of clouds, sounds, and automation can be saved into presets, or “scenes,” that may be recalled at a later time, allowing Borderlands to seamlessly transition between the studio and the stage.
  6. Jack Hertz

    Cyclop Twisted Bass Synthesizer

    Cyclop is a monophonic synthesizer. It does one thing very well: delivering cutting-edge digital madness at the low end of the frequency spectrum. Cyclop is the master of subs, beautifully controlling even the lowest notes, always sounding stomach-rumblingly thick. It uses mid/side processing to introduce stereo imaging between 250Hz and 4kHz. This ensures wide, interesting sounds that retain their punch and bass. There are no phasing issues, which means Cyclop cuts through the mix very nicely. Enjoy an incredible depth of sound design possibilities, great real-time control with the Wobble Knob and FX knob. Integrated effects sequencer, vast modulation system and the preset browser will take your inspiration to new levels. The interface has been improved for touch performance and the overall cpu usage has been reduced. - Monophonic Bass Synthesizer - 6x2 Synthesiser Engines, 10x2 Filter Engines - Analog Sync, FM, Sample Transformer, Spectromat, Saw Regiment, Phase Stressor - Vowel Filter Mode - Free Signal Flow for 2 Oscillators, Filters and Distortions. - Incredibly versatile modulation system - Multi FX Knob/Sequencer - powerful Preset Browser with tagging and rating - Full MIDI Support (Virtual, Network, External) - Music Library Access (Transformer Oscillator) - iTunes File Sharing - Inter-App Audio - Audiobus - Ableton Link
  7. Jack Hertz

    Kronecker Clockwork Synthesizer

    Kronecker is a synthesizer with a mechanism to make sounds many times like a rhythm machine each time you press a keyboard. In addition to synchronizing the trigger speed to the tempo, you can gradually increase the speed or slow it down after pressing the key. This makes it possible to produce synthesizer sounds like bouncing balls and clockwork toys. Kronecker has four emitters that emit sound particles made from FM tones and noise. At the emitter you can specify at what timing the sound particles will be triggered. You can also add effects such as the pitch and tone of particles gradually changing. Particles emitted by the emitter can be processed with two resonators, and you can reproduce sounds like particles jumping on strings and pipes. Kronecker works not only on the iPad but also on the iPhone. It also supports Audio Unit Extensions (AUv3), so you can plug in to AUv3 compatible host. For each screen size, different layouts are designed to be easy to use and intuitive. ## Key Features * Universal App Optimized for both the iPad and the iPhone. * Audio Unit Extensions (AUv3) You can use in a host application that supports Audio Unit such as GarageBand. * Inter-App Audio You can stream live audio directly to other Inter-App Audio host applications. * Audiobus support You can stream live audio directly to other Audiobus-compatible apps. See https://audiob.us for more information. * Ableton Link Ableton Link is a new technology that synchronizes beat, phase and tempo of Ableton Live and Link-enabled iOS apps over a wireless network. See https://www.ableton.com/link/ for more information. * MIDI - Core MIDI, Virtual MIDI, Inter-App Audio MIDI input - MIDI Clock synchronization - MIDI Controller Mapping * Programmable Arpeggiator You can easily create your own pattern.
  8. Lorentz is not only a live-oriented analog modeling synthesizer, but also has a resonator that makes metallic and aggressive sounds. This makes it easy to create a new synthesizer sound with a resonator added to the sound like an analog synthesizer. The oscillator has a sawtooth wave, a pulse width modulatable rectangular wave, a sub rectangular wave and noise. You can mix these waveforms at the same time. The filter has extreme resonance and overdrive that violently distorts the sound. Since all the parameters including the effect are contained on one screen, it is recommended for live performance. What's New in Version 2 - Universal App : Optimized for iPad and iPhone - Audio Unit Extensions (AUv3) compatible - Support for Audiobus State Saving - Exporting and importing of presets via Share extensions - Add Swing parameter to the arpeggiator - Improved MIDI mapping function - Support for Bluetooth MIDI Devices - Add Grain and Attack parameters to the Noise Synthesizer Engine * Oscillators : Saw, Pulse, Sub, Noise* High Pass Filter * Low Pass Filter * Resonator * AMP * 2x Envelope Generator * LFO * Effects : Chorus, Delay ## Key Features * Universal App Optimized for both the iPad and the iPhone. * Audio Unit Extensions (AUv3) You can use in a host application that supports Audio Unit such as GarageBand. * Inter-App Audio You can stream live audio directly to other Inter-App Audio host applications. * Audiobus support You can stream live audio directly to other Audiobus-compatible apps. See https://audiob.us for more information. * Ableton Link Ableton Link is a new technology that synchronizes beat, phase and tempo of Ableton Live and Link-enabled iOS apps over a wireless network. See https://www.ableton.com/link/ for more information. * MIDI - Core MIDI, Bluetooth MIDI, Virtual MIDI, Inter-App Audio MIDI input - MIDI Clock synchronization - MIDI Controller Mapping * Programmable Arpeggiator You can easily create your own pattern.
  9. Jack Hertz

    mf_ReLooP 8-Bit Bass Synthesizer

    The MF-Reloop is a brilliant little machine for making great hypnotic loops and lo-fi bass lines. It features an 8-step pitch sequencer with filter, tune, gate decay and grit.
  10. Jack Hertz

    Sound Scope Space

    The latest generation of our Sound Scope synthesizer! Now with a completely rewritten audio engine, Kuzmoscillator™ modulator, echo, envelope, arpeggiator, more range, and higher resolution! IMPORTANT: Although Space shares its lineage with other Sound Scope products, its user interface has been almost completely changed. Please read the instructions below and check out our website for more details and demos! PERFORMANCE SCREEN: Space launches with the performance screen where you simply touch the central column to play notes. At first, you will be able to play a huge range of notes, from the lowest bass to the highest soprano. You can use a pinching motion on the ruler on either side of the screen to zoom into a particular pitch region for more precise control. Use two fingers to drag either ruler up or down to change the pitch region you are playing. Try using more than one finger on the central column; Space will step through all of the pitches you have pressed! The two large colored triangles take you to waveform editing and modulation screens. WAVEFORM EDITOR: Use one finger to sculpt the waveform. Try to draw a sawtooth shape for rich harmonics. Draw a sine wave for smooth tones. Use a square shape to create hollow, flute-like tones. Most importantly, experiment! Press the large colored triangle to return to the performance screen. MODULATION SCREEN: Here you can change the arpeggiator and echo mode, and change their timing. With the arpeggiator on, you can use several fingers at once on the performance screen, and Space will repeatedly step through these notes. With the arpeggiator turned off, you can play Space one note at a time like you would a keyboard. Try setting the tempo very low with the arpeggiator off and the echo on! The echo uses the same clock, so you will get a very deep echo. The Kuzmoscillator™ modulator is an LFO control for pitch and volume. Drag across it horizontally, and you will cause the sound to go up and down in volume. Drag vertically, and you will do the same to pitch. The distance of your drag determines the AMOUNT of variation, while the speed of your drag determines the SPEED of variation. Finally, the envelope lets you control the onset of notes. Putting the slider in its leftmost position will cause notes to begin quickly, while moving the slider to the right will cause notes to slowly fade in. Press the large colored triangle to return to the performance screen. For fans of Curtis, Sub Shredder, Ocarina, Leaf Trombone, and BeatMaker! For all you beat box maestros, drum machine programmers, 303 tweakers, synth heads, and analog junkies. If you love your Moog, Prophet, 808, 909, MKS, Juno or Jupiter, you will love Sound Scope Space!
  11. Artists-- I have offered many of my works to the public domain-- here is a call for you to do the same-- if you believe in free culture: https://ia601504.us.archive.org/27/items/ThomasParkBenchmarkHub/23_Various_Artworks_In_The_Public_Domain.pdf

  12. On 5/17/2018, Thomas Park performed his first public live music gig. The performance was sparsely attended, but Thomas did manage to obtain a nice recording of the set. Thomas used 4 different live mixing consoles while performing his pieces.

    https://archive.org/details/ThomasParkLiveAtTheJuliaDavisLibrary

  13. WTPA is an an SRAM based 8-bit audio sampler, distributed in kit form. WTPA, as a KIT, is designed to the following aesthetic ends: to be a good and clear example of fairly "traditional" analog (low noise, relatively low frequency, high headroom, good routing, sensible ADCs and DACs etc) and digital (clean low level code, parallel memory architecture, I/O expansion via latches, various serial communication protocols) circuit design, and is catered to the determined (though not necessarily experienced) kit-builder who really, truly wants to learn more about how electronics work and how to get better at their craft. It is not the easiest kit ever, but for what it is I feel it's versatile and powerful and (I hope) cool. And it comes with a thick manual. As a SAMPLER and INSTRUMENT, WTPA is designed to the following aesthetic ends: to capitalize on the audio flaws and interfacing ability that relatively powerful and perfect computer samplers could but usually don't. To do crusty, awesome things that proletariat guitar garbage like the Line-6 pedals never will. To be a top-flight uncompromising, un-crashing piece of open source engineering that is more reliable than my well-loved but ever-so-buggy MPC2000. WTPA is nerdy and proud.
  14. FM Theory & Applications by Dr. John Chowning and David Bristow, is a book by Musicians for Musicians. There is no task as rewarding as one that holds the promise of "really making a difference". Our attempt to present the theory of Frequency Modulation synthesis, in a manner both theoretically true and musically relevant, represents such a task. We believe that, given a bit of time, concentration, and careful listening, musicians can gain enough understanding of FM theory to direct their programming of FM algorithms along musically rewarding paths. The last requirement, careful listening, is the most important. The theory can help explain choices you may have already made through listening, or it may suggest interesting possibilities that can be developed. But it can not, by itself, tell you how to make an interesting timbre. So as you work your way through this book, do all of the "X"-amples, read every page in order, be aware when interesting accidents and mistakes occur, and remember above all that the most important tools are your ears.
  15. Take one of the first looks at the ONDA, a new musical instrument computer from Critter & Guitari that runs patches that can mimic a variety of behaviors, from simple synths to complex algorithmic generators. With an open platform as it’s base, it possesses the potential to grow a community of artists creating and sharing their own patches with one another.
  16. Jack Hertz

    MegaCurtis

    Turn any recording into a unique synthesizer! Use the built-in presets or any recording to create sounds never heard before. Make a synth from opera, from screeching cats, from the latest radio newscast. Sample one hand clapping, or a tree falling in the woods; any sound will lend its unique properties to MegaCurtis! Paste files from other apps, record through the built-in or an external mic, or transfer files through iTunes. Play them using the onscreen piano-style keyboard! Granular synthesis works by combining many tiny grains of sound from an existing recording, creating new sounds with the textural properties of the original. Wavetable synthesis works by sweeping through a series of single-cycle waveforms. MegaCurtis uses our hybrid of granular and wavetable synthesis, Gravetable™, combining the periodicity of wavetable synthesis with the chop and overlap of granular synthesis. MegaCurtis has been completely rewritten for better performance, longer recording time, session recording, polyphony, copy/paste, high-res display and more! • Selectable keyboard scales for easier jams • Fat keys option for fat fingers • Four voice polyphony • Three LFO modulators • Lowpass filter effect • Echo effect • Granular jitter effects • Audio Copy/Paste • iTunes file sharing • Works on iPad and iPhone 4s/4/3GS
  17. Jack Hertz

    Forbidden Planet

    Forbidden Planet is a 1956 American science fiction film produced by Nicholas Nayfack, directed by Fred M. Wilcox that stars Walter Pidgeon, Anne Francis, and Leslie Nielsen. Shot in Eastmancolor and CinemaScope, it is considered one of the great science fiction films of the 1950s, and a precursor of contemporary science fiction cinema. The characters and isolated setting have been compared to those in William Shakespeare's The Tempest, and the plot contains certain analogues to the play. Forbidden Planet pioneered several aspects of science fiction cinema. It was the first science fiction film to depict humans traveling in a faster-than-light starship of their own creation. It was also the first to be set entirely on another planet in interstellar space, far away from Earth. The Robby the Robot character is one of the first film robots that was more than just a mechanical "tin can" on legs; Robby displays a distinct personality and is an integral supporting character in the film. Outside science fiction, the film was groundbreaking as the first of any genre to use an entirely electronic musical score, courtesy of Bebe and Louis Barron. Forbidden Planet's innovative electronic music score, credited as "electronic tonalities", partly to avoid having to pay any of the film industry music guild fees,[citation needed] was composed by Bebe and Louis Barron. MGM producer Dore Schary discovered the couple quite by chance at a beatnik nightclub in Greenwich Village while on a family Christmas visit to New York City; Schary hired them on the spot to compose his film's musical score. While the theremin (which was not used in Forbidden Planet) had been used on the soundtrack of Alfred Hitchcock's Spellbound (1945), the Barrons' electronic composition is credited with being the first completely electronic film score; their soundtrack preceded the invention of the Moog synthesizer by eight years (1964). Using ideas and procedures from the book Cybernetics: Or Control and Communication in the Animal and the Machine (1948) by the mathematician and electrical engineer Norbert Wiener, Louis Barron constructed his own electronic circuits that he used to generate the score's "bleeps, blurps, whirs, whines, throbs, hums, and screeches". Most of these sounds were generated using an electronic circuit called a "ring modulator". After recording the basic sounds, the Barrons further manipulated the sounds by adding other effects, such as reverberation and delay, and reversing or changing the speeds of certain sounds. Since Bebe and Louis Barron did not belong to the Musicians Union, their work could not be considered for an Academy Award, in either the "soundtrack" or the "sound effects" categories. MGM declined to publish a soundtrack album at the time that Forbidden Planet was released. However, film composer and conductor David Rose later published a 7" (18 cm) single of his original main title theme that he had recorded at the MGM Studios in Culver City during March 1956. His main title theme had been discarded when Rose, who had originally been hired to compose the musical score in 1955, was discharged from the project by Dore Schary sometime between Christmas 1955 and New Year's Day. The film's original theatrical trailer contains snippets of Rose's score, the tapes of which Rose reportedly later destroyed. The Barrons finally released their soundtrack in 1976 as an LP album for the film's 20th anniversary; it was on their very own Planet Records label (later changed to Small Planet Records and distributed by GNP Crescendo Records). The LP was premiered at MidAmeriCon, the 34th World Science Fiction Convention, held in Kansas City, MO over the 1976 Labor Day weekend, as part of a 20th Anniversary celebration of Forbidden Planet held at that Worldcon; the Barrons were there promoting their album's first release, signing all the copies sold at the convention. They also introduced the first of three packed-house screenings that showed an MGM 35mm fine grain vault print in original CinemaScope and stereophonic sound. A decade later, in 1986, their soundtrack was released on a music CD for the film's 30th Anniversary, with a six-page color booklet containing images from Forbidden Planet, plus liner notes from the composers, Bebe and Louis Barron, and Bill Malone. A tribute to the film's soundtrack was performed live in concert by Jack Dangers, available on disc one of the album Forbidden Planet Explored.
  18. Three programmes in which composer Neil Brand celebrates the art of cinema music, Neil explores how changing technology has taken soundtracks in bold new directions and even altered our very idea of how a film should sound. Neil tells the story of how the 1956 science fiction film Forbidden Planet ended up with a groundbreaking electronic score that blurred the line between music and sound effects, and explains why Alfred Hitchcock's The Birds has one of the most effective soundtracks of any of his films - despite having no music. He shows how electronic music crossed over from pop into cinema with Midnight Express and Chariots of Fire, while films like Apocalypse Now pioneered the concept of sound design - that sound effects could be used for storytelling and emotional impact. Neil tracks down some of the key composers behind these innovations to talk about their work, such as Vangelis (Chariots of Fire, Blade Runner), Carter Burwell (Twilight, No Country for Old Men) and Clint Mansell (Requiem for a Dream, Moon).
  19. Jack Hertz

    Under the Electric Sky

    This 3D film chronicles the love, community and life of festivalgoers during Electric Daisy Carnival Las Vegas, the largest music festival in the US. Behind-the-scenes footage and exclusive interviews with Insomniac's Pasquale Rotella reveal the magic that makes this three-night, 345,000-person event a global phenomenon. Beginning in 1997 with a few thousand revelers in Los Angeles, the Electric Daisy Carnival has become the largest dance music event in North America. Known for its over the top displays of pyrotechnics, world-class artists, costumed theatrical performers, interactive art installations, full scale carnival rides and state-of-the-art lighting and sound production. This year's festival attracted 345,000 attendees from June 21-23, 2013. Shot in IMAX 3D, the film will follow festival-goers as they prepare for their journey to EDC Las Vegas and chronicle their unique experience throughout the three-day festival. Behind the scenes footage and interviews with key Insomniac team members will give new audiences the chance to discover what has made the Electric Daisy Carnival a global phenomenon.
  20. pen·ti·men·to / noun Reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over. First new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell's Fourth World aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together. The release of this new album also sees the launch of Jon’s own label, Ndeya (pronounced “in-day-ya”), which will be a home for new work as well as well as selected archival releases, including re-presses of classic sides and some astonishing unreleased music.
  21. Earlier
  22. Jack Hertz

    S.A.W. #43 

    S.A.W. #43 SUNDAY, MAY 20, 2018 RED MUSEUM, SACRAMENTO, CA PREGNANT (sacramento) HERTZ TO NOAHVAIL (pacifica/sacramento) BLOOD OF CHHINNAMASTIKA (san jose) ALIEN TERRARIUM (sacramento) EDDIE HONEYEATER(sacramento) Cathode by BORIS ALLENOU (france) $8-10 cover/sliding scale - noon start More info - https://www.norcalnoisefest.com/audiowaffle/upcoming.html
  23. Jack Hertz

    DASZ Instruments ALEX Expander Module

    ALEX is a powerful stand-alone live performance system which features 4, 8, 12 or 16 stacked stereo tracks. Each track boasts a polyphonic virtual analog synth and sampler, a powerful step sequencer, stereo effects, and looper. Alternatively, a track can control, sequence, mix, and process any MIDI or modular instrument. Complete productions or live sets can be arranged using scenes, automation, and songs. User Experience Like No Other. ALEX combines an immersive widescreen, full color user interface with dedicated full color buttons and encoders for unmatched tactile control that grows. Complete control of your entire production and your entire setup is right under your fingertips. Modular. Expandable. Performance Machine. ALEX is modular, meaning you can easily expand it by attaching up to 4 modules together with no additional cabling. Each module adds 4 additional stereo tracks, more processing power, a wider user experience, and more input and output possibilities. Its proprietary distributed hardware and software technology enables multiple hardware modules to function as one integrated music performance machine. SYSTEM FEATURES Every ALEX module features 4 stacked stereo tracks and 1GB of RAM. An ALEX starts with a MAIN module and can be extended to an 8 track system by adding one EXPAND module, a 12 track system by adding two EXPAND modules, or 16 track system by adding three EXPAND modules. Each stereo track contains five essential track-parts INSTRUMENT – Currently, each track includes two built in instruments: An internal polyphonic VA/sample hybrid synthesizer. Features: two oscillators with anti-aliased saw, square, triangle, sine, noise or stereo or mono samples, a rich 24dB LP/BP/HP stereo filter, and amplifier. A MIDI controller. Control any external instrument using customizable control panels. Insert it into the track for seamless integration and add CV output and modulation with the EXP-A I/O card. STEREO CHANNEL MIXER – Mix and blend your track, then sculpt the sound with a sweep-able 3-band EQ. Each track can be routed to the main or aux outputs, making it ideal for cueing or for use as an auxiliary bus. Includes track FX sends, returns and wet/dry control. STEREO MULTI-FX – Embellish each track with up to 2 stereo track effects which are ideal for adding what your instruments are missing. Currently, the built-in effects include: Stereo Delay, Compressor, Bit Crush, and Overdrive. A STEREO LOOPER/SAMPLE PLAYER – Use the looper to add more sonic weight by playing samples, or use it to record and overdub your track. Disconnect the looper output from the track by routing it directly to the main or auxiliary bus, virtually doubling the number of tracks in your system. TRACK CONTROLLER – Put the track parameters that matter the most in one place. PRODUCTION AND PERFORMANCE FEATURES ALEX contains all the essential features for composing, arranging, and performing elaborate sets. TRACK SEQUENCER – Each track is controlled by a step-sequencer or can be played with a MIDI keyboard. The track sequencer features: 128 patterns per track. Up to 128 steps per pattern. Each step has adjustable note, velocity, duration, delay, and automation. Each pattern has independent step resolution, loop start, and end points. Edit 8 steps at a time on a single module system, 16 steps on a two or three module system, or 32 steps on a four module system. SPLIT the sequencer and edit patterns on multiple tracks at once on systems with one or more EXPAND modules. SCENES – Add variety and evolve your sets when you perform with Scenes. Change your patterns, samples, and parameters for seamless musical transitions. VIEWS – Capture the controls in front of you, then recall them at a push of a button. SONG – Create your own arrangements by linking scenes. GROOVE – Inject feel and variety into your sequences as they ebb and flow. AN EXPANDABLE EXPERIENCE ALEX has been designed to provide users with quick and easy access to all its parameters and settings without menu diving. The interface and hardware expands as you add more modules to your system. Each module features: A large 5” wide-screen TFT LCD display provides plenty of visual feedback for navigating and viewing multiple parameters at a time. 4 track buttons, 8 high-quality RGB push encoders, and 8 RGB buttons for parameter control and navigation. 8 High-quality color LED push encoders and 8 RGB buttons parameter control and navigation. An expansion slot for optional I/O cards, such as the EXP-A I/O card. The EXP-A I/O card offers 4 mono inputs and 4 mono outputs with audio rate CV output. The inputs and outputs can be configured either as mono or stereo pairs and used with multiple tracks. More cards are planned. A DSP expansion slot for adding a DSP board for more horsepower to the instruments and FX. ALEX is solidly built using high grade components, making it ideal for life on the road or in a studio. Designed to be taken down and re-assembled easily means even a large system can be transported as carry-on. Intuitive track-based navigation using dedicated track and track-part buttons allows easy access to each part of a track. Adjust each track-part’s parameters using a full screen editor, or use the channel strip view to adjust parameters on multiple tracks at a time. A layered user interface allows you to perform your sequences, scenes, or access other features while controlling track parameters. Some features, such as sequencers expand with the number of modules in a system and access more steps or controls.
  24. Jack Hertz

    DASZ Instruments ALEX Main Module

    ALEX is a powerful stand-alone live performance system which features 4, 8, 12 or 16 stacked stereo tracks. Each track boasts a polyphonic virtual analog synth and sampler, a powerful step sequencer, stereo effects, and looper. Alternatively, a track can control, sequence, mix, and process any MIDI or modular instrument. Complete productions or live sets can be arranged using scenes, automation, and songs. User Experience Like No Other. ALEX combines an immersive widescreen, full color user interface with dedicated full color buttons and encoders for unmatched tactile control that grows. Complete control of your entire production and your entire setup is right under your fingertips. Modular. Expandable. Performance Machine. ALEX is modular, meaning you can easily expand it by attaching up to 4 modules together with no additional cabling. Each module adds 4 additional stereo tracks, more processing power, a wider user experience, and more input and output possibilities. Its proprietary distributed hardware and software technology enables multiple hardware modules to function as one integrated music performance machine. SYSTEM FEATURES Every ALEX module features 4 stacked stereo tracks and 1GB of RAM. An ALEX starts with a MAIN module and can be extended to an 8 track system by adding one EXPAND module, a 12 track system by adding two EXPAND modules, or 16 track system by adding three EXPAND modules. Each stereo track contains five essential track-parts INSTRUMENT – Currently, each track includes two built in instruments: An internal polyphonic VA/sample hybrid synthesizer. Features: two oscillators with anti-aliased saw, square, triangle, sine, noise or stereo or mono samples, a rich 24dB LP/BP/HP stereo filter, and amplifier. A MIDI controller. Control any external instrument using customizable control panels. Insert it into the track for seamless integration and add CV output and modulation with the EXP-A I/O card. STEREO CHANNEL MIXER – Mix and blend your track, then sculpt the sound with a sweep-able 3-band EQ. Each track can be routed to the main or aux outputs, making it ideal for cueing or for use as an auxiliary bus. Includes track FX sends, returns and wet/dry control. STEREO MULTI-FX – Embellish each track with up to 2 stereo track effects which are ideal for adding what your instruments are missing. Currently, the built-in effects include: Stereo Delay, Compressor, Bit Crush, and Overdrive. A STEREO LOOPER/SAMPLE PLAYER – Use the looper to add more sonic weight by playing samples, or use it to record and overdub your track. Disconnect the looper output from the track by routing it directly to the main or auxiliary bus, virtually doubling the number of tracks in your system. TRACK CONTROLLER – Put the track parameters that matter the most in one place. PRODUCTION AND PERFORMANCE FEATURES ALEX contains all the essential features for composing, arranging, and performing elaborate sets. TRACK SEQUENCER – Each track is controlled by a step-sequencer or can be played with a MIDI keyboard. The track sequencer features: 128 patterns per track. Up to 128 steps per pattern. Each step has adjustable note, velocity, duration, delay, and automation. Each pattern has independent step resolution, loop start, and end points. Edit 8 steps at a time on a single module system, 16 steps on a two or three module system, or 32 steps on a four module system. SPLIT the sequencer and edit patterns on multiple tracks at once on systems with one or more EXPAND modules. SCENES – Add variety and evolve your sets when you perform with Scenes. Change your patterns, samples, and parameters for seamless musical transitions. VIEWS – Capture the controls in front of you, then recall them at a push of a button. SONG – Create your own arrangements by linking scenes. GROOVE – Inject feel and variety into your sequences as they ebb and flow. AN EXPANDABLE EXPERIENCE ALEX has been designed to provide users with quick and easy access to all its parameters and settings without menu diving. The interface and hardware expands as you add more modules to your system. Each module features: A large 5” wide-screen TFT LCD display provides plenty of visual feedback for navigating and viewing multiple parameters at a time. 4 track buttons, 8 high-quality RGB push encoders, and 8 RGB buttons for parameter control and navigation. 8 High-quality color LED push encoders and 8 RGB buttons parameter control and navigation. An expansion slot for optional I/O cards, such as the EXP-A I/O card. The EXP-A I/O card offers 4 mono inputs and 4 mono outputs with audio rate CV output. The inputs and outputs can be configured either as mono or stereo pairs and used with multiple tracks. More cards are planned. A DSP expansion slot for adding a DSP board for more horsepower to the instruments and FX. ALEX is solidly built using high grade components, making it ideal for life on the road or in a studio. Designed to be taken down and re-assembled easily means even a large system can be transported as carry-on. Intuitive track-based navigation using dedicated track and track-part buttons allows easy access to each part of a track. Adjust each track-part’s parameters using a full screen editor, or use the channel strip view to adjust parameters on multiple tracks at a time. A layered user interface allows you to perform your sequences, scenes, or access other features while controlling track parameters. Some features, such as sequencers expand with the number of modules in a system and access more steps or controls.
  25. Jack Hertz

    8BitMixtapeNEO 8-Bit Mixtape

    The 8BitMixtapeNEO is a lo-fi 8Bit synthesizer based on the Arduino-compatible ATTINY85, featuring 2 Pots, 2 Buttons and 8 adressable RGB Neo-pixels. The key feature of the new 8BitMixtapeNEO is the easiness of uploading new codes using an audio communication protocol, means just playing a .wav sound file from your computer/smart phone (or walkman). Technical Specs ATTINY85 The high-performance, low-power Microchip 8-bit AVR RISC-based microcontroller combines 8KB ISP flash memory, 512B EEPROM, 512-Byte SRAM, 6 general purpose I/O lines ARDUINO-COMPATIBLE The high-performance, low-power Microchip 8-bit AVR RISC-based microcontroller combines 8KB ISP flash memory, 512B EEPROM, 512-Byte SRAM, 6 general purpose I/O lines TINY AUDIO BOOT The key feature of the new 8Bit Mixtape is the easiness of uploading new codes using an audio communication protocol, means just playing a .wav sound file from your computer/smart phone (or walkman). NEOPIXEL-LED The key feature of the new 8Bit Mixtape is the easiness of uploading new codes using an audio communication protocol, means just playing a .wav sound file from your computer/smart phone (or walkman).
  26. Jack Hertz

    Moog Grandmother Semi-Modular Analog Synthesizer

    The Hertz will not be there. It is rather stylish, I admit. Hmmmm, a contest is a nifty idea!
  27. CIIIGoff

    Moog Grandmother Semi-Modular Analog Synthesizer

    Mr. Hertz -- will be attending the M Fest? If so, will you be making a report(z) to the readers here? This piece of equipment is appealing; I love the Micromoog-ish presentation and the pretty colors -- if only you could get all the Encyclotronic members to chip in a little $ and hold a raffle... ah, there I am dreaming again...
  28. Jack Hertz

    OAXACA by Jack Hertz

    Take a sonic journey to the ancient city of Oaxaca. Located in Southwestern Mexico. The state is best known for its many indigenous peoples that are descendants of the Aztecs. These cultures have survived better than most others in Mexico due to the state's rugged and isolating terrain.
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    • Mystified

      Artists-- I have offered many of my works to the public domain-- here is a call for you to do the same-- if you believe in free culture: https://ia601504.us.archive.org/27/items/ThomasParkBenchmarkHub/23_Various_Artworks_In_The_Public_Domain.pdf
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    • Mystified

      On 5/17/2018, Thomas Park performed his first public live music gig. The performance was sparsely attended, but Thomas did manage to obtain a nice recording of the set. Thomas used 4 different live mixing consoles while performing his pieces.
      https://archive.org/details/ThomasParkLiveAtTheJuliaDavisLibrary
      · 0 replies
    • Jack Hertz

      My new album "Broken Light" was created in a different manner than my previous releases. The tracks were composed for pre-existing video footage. Ideally, to encourage the use of new sounds and methods for composing real sonic paintings. This is the video for the 2nd track on the album that I hope you will find of interest.
       
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    • Mystified

      I have started visiting a site called "Electronic Cottage". It's Hal McGee's brainchild-- a resurrection of a project he began back in the '80's, which was dedicated to DIY and hometaper culture.   I was immediately overwhelmed by what was too much to take in at once. A lot of parallels could be drawn between this scene and my early days as mystified.   A main parallel involves what I would call a "distancing of the audience".   Because a lot of home recording happens essentially without an audience (and involves just the artist(s)), it happens without restraint-- and without critique.   As a result, it is often glorious, free, and, well- somewhat trashy and disposable. Fun stuff that parodies itself endlessly, recursively.   I think again about where I am today in regards to archiving my work, and the sheer abundance of material from earlier eras that is not altogether different.   A formidable challenge-- perhaps even a quixotic task-- to make as complete a record as possible?  
      · 2 replies
    • Mystified

      Artists-- make my (mainly) retired status into a time to celebrate-- why not use some of my raw material or other resources? Here's how:
      https://ia801504.us.archive.org/27/items/ThomasParkBenchmarkHub/21_An_Artists_Toolkit.pdf
      · 0 replies
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