“Quick introduction RE how to create the sound of surf/sea. Take note the principles can be applied to any decent programmable synth. This should prove useful to synth users/sound designers in general, and also those working in Foley etc. I’m very much of the opinion that seeing – and hearing – the process of sculpting a sound is far more useful than
“Just the new week began with a new delivery from ARTURIA, a French company of software and analog synthesizers.
The box was the newest synthesizer Arturia-MiniBrute 2.
This is a semi modular analogue synthesizer that is the successor of the MiniBrute, offering more Brute power than ever before. MiniBrute 2 produces a huge analog sound, equipped with two
Today was a great day in Torino with the first Soundmit Spinoff “Soundmit.off – Torino Music Garage Sale” with the precious support of ARTURIA, ARTURIA USER GROUP TORINO and ARTURIA USER GROUPS. Attached are some pics of the event.
The next full SoundMit will be held on November 3/4 2018 in Torino, Italy.
“Of course, try loud with cans on. This piece is both an original work and a demo of the analog flange on the MB. I’ve been sniffing around online, and for some reason the analog effects get a bad rep. I don’t know why. If I’m missing something, do let me know. More text below if you’re bored and fancy a read:
“Handmade GRP A-2 and industry analog ARTURIA MINIBRUTE 2.
My challenge here was to tweak a proper sound for the BACH Prelude D major, BWV 850.
So different machines lead to different ideas — so please don’t look
for too much similarities!
Since (nearly) all of them are pure mono synths
all recordings are done in 2 takes. I filmed
the melody part.”
As haunting, oceanic wells of sound sing achingly in the background, Tokyo-based ambient musician Chihei Hatakeyama talks in a new documentary about what inspires him.
The creative series toco toco follows the musician to the places and views that inspired the images of his music – including gazing into the sea. Of that view, he says:
“There wasn’t any gap in space, it was translating directly into music.”
Filmmaker Anne Ferrero writes to share her work, as she follows the artist “to the roots of his universe, in the Kamakura and Enoshima areas, where he grew up.”
And he speaks of the beauty in ambient music, and its connection to nature. And while solitude in computer music is often seen as something of a liability, here he talks about its importance – as he uses that laptop as a box for editing improvisations.
Being able to create music alone made it more personal. The music that I wanted to make could now express my mind – what I felt inside.
The film is subtitled in English, with Japanese audio. (Don’t forget to turn CC on.)
It’s a deeply personal film all over, and even talks about the journey from electronic sounds on dancefloors to the quieter, more contemplative world of ambient music. And he finds that moment of liberating himself from the beat – not by trying to copy what people would call ambient music on a superficial level, but by fumbling his way to this solution after eliminating obstacles to expression.
Hey, I love both modes of music, myself, so I can appreciate that balance. It’s just rained here in Berlin, and I’m reminded of that feeling of relief when it rains after long periods of sun … and visa versa. Maybe music is the same way.
Have a watch, and I’m sure you’ll want to pick up a guitar or laptop, or go to a beach, or take a personal field trip to the museum and stare at paintings.
Painting with colors in sound … filling the world with oceans of your own expression. What could be more lovely?