Free Music Software: Aradaz Maximizer 5 is a free loudness maximizer effect plug-in for Mac & Windows:
After 5 months trials and errors of making loudness maximizer vst, the algorithm which I’m looking for is finally found. I’have reworked the previous AradazMaximizer5 and I still use that name for this new maximizerVST plugin.
AradazMaximizer5 Reworked Version has better performance of limiting audio signal. It has no pumping effect, easy to use, simple and free.
2 speed types (normal and fast).
Attack and release characterization.
Output parameter (never exceed 0 dB).
Sample rates up to 192 kHz.
64 bit internal processing.
Aradaz Maximizer 5 is available now as a free download for PC and Mac (VST/AU).
Tristan Perich releases music entirely as electronics, with his 1-bit Symphony, coming out next week. But before we get hung up on the novelty of the thing, take note: there’s some real musical, compositional goodness inside that jewel case frame, locked up in the circuits. To begin the conversation about that music, Primus Luta, aka David Dodson, talks to the artist for CDM.
If you are familiar with Tristan Perich’s previous work 1-Bit Music, the packaging for 1-Bit Symphony will look familiar. Housed in a standard jewel case, the CD is replaced by a series of circuits wired to a headphone jack from which the secrets of the case can be revealed. But there are visible differences between 1-Bit Music and 1-Bit Symphony, and it is not just the colors of the wires.
“The first one had a lot to do with the transparency of the circuit,” Tristan explains. ”It was meant to be very clearly laid out. The different colors represent different functions of the wire. There were the different volume knobs for left and right. A big microchip. This time I took the aesthetic decision to throw all of that out. I made everything black, used a smaller micro-chip because I didn’t need all of the extra functionality of the bigger one. Used a stereo volume knob. All of this allows me to highlight a different aspect of the circuit, which is going from left to right: the battery to the power switch to the chip on to the headphone jack.”
After plugging in headphones, a simple flip of the switch begins the journey. If you have heard 1-Bit Music, you are likely prepared for the sonic palate, but the depth and density of this new work takes the foundations laid in Music much further. It is all a result of the musical journey Tristan has been on for now over half a decade. “I never really wanted to work with electronics for music. I took programming, so there was an interest in that and also the foundations of physics and quantum mechanics. But my background is as a classical composer, working with more physical instruments. When I first started working with 1-bit sound, I fell in love with the raw, primitive, electric tonings that I could get. This very, very basic electronic sound. It provided an interesting and intricate structural framework.
“I think of this project as being very much inspired and coming out of the techniques that I have developed and learned scoring classical music. But learning to score and write music in the 21st century is already a primitive thing. Electronics have been a part of it for a while with many composers. I grew up listening to Philip Glass and The Electro-Acoustic Ensemble, Steve Reich using tape loops in his pieces. In a way the definition of orchestration has different standards already. At the same time, with the first project and this one, it’s music written for stereo headphones or a stereo speaker system.”
This is a realization of what Brian Eno describes as a music that ”doesn’t exist outside of the recording,” both projects taking the notion a step further in that the music itself is not a recording. ”[Symphony] is a contrast to the music I’ve been working on for the past two years where I’ve been writing for instruments on stage with 1-bit electronics. These have one speaker on stage per channel and the speakers act like musicians. In these two albums I’m working polyphonically in this really limited medium. So in that sense it is written for the hardware.”
It’s an interesting trajectory in which, perhaps to Eno’s chagrin, performance has played an integral role in the development of this performance-less compositional format. ”1-Bit Music was my first time working with one bit sound. Only after that did I start writing pieces for 1-bit sound and instruments. I learned a lot about the character of classical instruments and electronic sound over the past few years. Returning to working with just electronic sounds has a whole different feeling than when I did it the first time. Now it’s really about just focusing on working with the electronics as a self contained system.”
When working with electronics, particularly in the manner by which Tristan approaches them, the non-musical aspect of developing a system for composition is essential. ”This was basically my first real piece of software in the Assembly language. I built it up piece by piece. First you have the code that generates a tone. Then you set up another piece of code that can change that tone every once in a while. Set up different tracks. Of course Assembly is a really sneaky language. You have to keep track of how much space the code is using, how much space the music is using up. I had to confront issues where I wanted some abilities but couldn’t implement because I literally ran out of memory. But if I deleted two elements I saved twenty bytes and could fit it on the chip,” he laughs. “That was a real retro coding experience and unusual way for me in writing music.”
With the writing of the music itself, Tristan takes compositional cues from his work with instruments. ”Sequences form melodies, and melodies get stitched together into sectional compositions. Repetition is a very core part of my music. The way that I write for instruments is very similar to how I write for electronics. So the code that I wrote mimics the structure. It’s a way for me to write sectional music that also doesn’t take up much memory on the chip, because it is so limited.
“The things that are different between writing for instruments and writing for electronics are similar to things that are idiomatic to different instruments. Wind instruments need to breathe every once in a while. Electronics have characteristics like you can’t have too much polyphony and there’s no attack, decay or any real shape to these sound waves” If it sounds limiting, you surely would not know by listening. In the same way that you rarely think about the breath limitations of the wind section of a symphonic orchestra, listening to 1-Bit Symphony, you never think of the sound waves lacking shape. The limitations of the medium never makes themselves apparent, instead one is left wondering how such a detailed composition is even possible from the circuits in your hand.
By his own admission the work is not performable so do not expect any live renditions of the music contained on the chip. But at the listening party this Friday Tristan will attempt to present another aspect of the project. ”The whole project is about how speakers are instruments specifically designed to translate electricity into sound waves. The whole 1-Bit Symphony really is turning on and off electricity and moving a speaker membrane. That’s what I really want to capture at the release party.”
The release party will be held at Roulette in New York, on Friday August 20th. The project itself will be released August 24th on Cantaloupe Music.
The Denon DN-SC2000 is an affordable, professionally spec’d and constructed MIDI controller for Native Instruments TRAKTOR Pro, providing a serious portable control solution for laptop DJs. A dual layer system, the DN-SC2000 provides…
Austin’s ArcAttack on America’s Got Talent demonstrates how to do Iron Man with 1,000,000 volts of MIDI-controlled Tesla guitar.
Here’s what they have to say about their MIDI guitar setup for the America’s Got Talent show:
The fret board is 72 optically isolated switches. The fret board, instead of frets has 6 brass contacts per fret. When the string is pushed down to the contact, it makes a connection.
From there the signal is optically isolated, to protect from EMF and sent to a micro controller thats only job is to priority encode the fretboard, and keep tabs on which string is pushed down to each fret.
So priority encoding means this basically: if you are playing the 6th string on the 12th fret, then the computer ignores if say the 11th and 10th frets are pressed on that string also, since the 12th fret needs to take priority – just like a real guitar.
The fret board is 72 optically isolated switches. The fret board, instead of frets has 6 brass contacts per fret. When the string is pushed down to the contact, it makes a connection.From there the signal is optically isolated, to protect from EMF and sent to a micro controller thats only job is to priority encode the fretboard, and keep tabs on which string is pushed down to each fret.So priority encoding means this basically: if you are playing the 6th string on the 12th fret, then the computer ignores if say the 11th and 10th frets are pressed on that string also, since the 12th fret needs to take priority – just like a real guitar.
Now there is a second computer that is located on top of the fret board underneath the metal box. This computer detects when the strings are strummed, and is also updated by the first computer whenever the fretboard changes state.
It is also the second computer’s responsibility to process the fretboard and strumming data, and output midi messages accordingly. The midi signal is converted to a fiber optic light pulse, and is sent down as optical data to the Tesla coil’s main computer, which is responsible for processing the midi commands and outputting a pulse rate modulation signal to control the pitch of the tesla coils.
The end result: The most rock and roll display ever. Real lightning guitar, while the player plays the guitar, he is being struck by lightning that produces the melody that he is playing.
Native Instruments is pleased to announce that the BATTERY 3.1 update is now available for free download. The update contains several new features and workflow improvements, and some fixes. You can download the update via the NI Service Center or…
Free Music Friday: Dimitri Schkoda has released Premonitions (Part One and Two), music made with the Avatar ST virtual synthesizer by H.G. Fortune:
Yes, unbelievable! Two CDs recorded live by Dimitri Schkoda aka Inner Dreamer featuring Avatar ST VSTi Synthesizer only (no further FX used)
Even more only one patch of Avatar ST was used per track at all though with some realtime tweaking of course. The skilful play of Dimitri Schkoda unveils the very sonic potential of this synthesizer. This is partly cinematic to orchestral ambient sometimes with a dark touch and very well suited not only for relaxation but also for intense listening of his imaginary songs done with the ‘Futuristic Orchestra’ as he calls it. He has dedicated this masterpiece of music ‘to all friends around the world who support works of HG Fortune’.
Premonitions Part One & Two are available as a free download from H.G. Fortune. Both rar archives include images for CD cover, booklet and CD label ready for printing.
Cinesamples has introducedVoxos, a new virtual instrument for Kontakt 4 containing a full epic choir, boys choir, soloists and individual choir legato sections.
Recorded at the beautiful Bastyr Chapel, with its gorgeous acoustics, the choirs were captured with multiple microphone positions in 24bit/48k 5.1 surround. The result is a pristine tone that sounds great right out of the box. VOXOS contains over 35,000 samples, at an uncompressed size of 35GB.
Check out the official intro video above to get a taste of how it works and sounds.
Voxos is available to pre-order for $799 until September 30, 2010 (35% off $1099 MSRP, $999 MAP).
Phrase Builder, a powerful way of adding word syllables into a choir performance.
30 Syllable Matrix Editor.
Intuitive, performance-oriented scripting.
Staccatos, Sustains, all MOD XFADE.
Dynamic morphing between dynamics.
4 Mic positions + Full Mix.
Section contains over 16,000 samples.
Legato Sections, contains true legato performances of Sopranos, Altos, Tenors, Basses, Boys Choir, Solo Boy, Solo Soprano and Solo Alto.
Real transition samples for all intervals.
Each contain 2 vowels at 2 dynamics each.
4 Mic positions + Full Mix.
Section alone contains 17,000 samples.
Choir Effects, over 500+ Choir Effects suitable for film, tv and game music.