Olivier Sens and the Sensomusic team have announced Usine HollyHock 3, a new version of the professional modular audio, video, and DMX
Man braucht etwas Geduld, um Demos des Baloran “The River” zu finden. Zeitgleich zum Modularmeeting in Deutschland fand in Frankreich das Synthfest statt, auf dem er vorgestellt wurde.
Dieses 30-Minuten-Video enthält einige Klänge, die jedoch nur über das Cam-Mikrofon aufgenommen wurden. Trotzdem kann man erahnen, dass beispielsweise die Fläche bei 12:05 oder 15:55 “eigentlich” sehr schön ist und rund und breit klingt. Das ist etwas, was schwer per Effekt zu machen ist. Deshalb ist immer wichtig, dass der Synthesizer in der Lage ist, solche schönen und weichen Klänge erzeugen zu können. Denn böse und fies ist immer relativ einfach, umgekehrt jedoch eher nicht bis gar nicht zu realisieren.
Baloran The River
Über The River wurde hier schon gesprochen. Es handelt sich um einen klassischen Aufbau, der neben all dem Behringer-Noise zu wenig Beachtung bekam. Schließlich ist Baloran aber auch keine allgemein bekannte Firma.
Bei 24:15 schmatzt das Filter und man hört weitere Flächen. Einen Chor-Sound gibts bei 27:00 etwa. Bei kurz vor 11:00 findet man eine LFO-Modulation, die mit einer Random-Schwingung relativ schnell eine interessante Textur erzeugt. Bei 13:45 findet man dann glockige und experimentellere Sounds, die in Zusammenhang mit dem Filter sehr harmonisch und rund klingen, so man das anhand des Videos beurteilen kann.
Das macht insgesamt mit etwas Wohlwollen gegenüber der Qualität einen guten bis sehr guten Eindruck. Gerade jene, die bisher auf den Erwerb eines Oberheim gezielt haben, dürfte das interessieren. Wer warme, fließende Grundcharakteristik sucht, die rundum keine virtuellen Teile erkennen lässt und die man sich nicht irgendwie schöndenken muss, wird hier fündig.
Daher scheint Baloran ein Name zu sein, den man sich merken sollte. Die Prototypen des “The River” sind bereits fertig und spielbereit. Es gab schon zwei verschiedene Farb-Bedruckungen und insgesamt scheint man eigentlich nur noch auf das finale Gerät warten zu müssen.
Von mir gibt es jedenfalls eine Empfehlung dafür. Das klingt ziemlich hochwertig.
Kentucky-born artist The Black Madonna this month joined Romanian Andreea Magdalina, founder of all-female network shesaidso.so for GROOVE. The message is as simple as taking women seriously – and what can be done to change things when it doesn’t happen. It’s worth sharing that conversation – and please, listen to its entirety – for a couple of reasons.
First, I think we’re obligated to keep sharing this conversation and ones like it so long as it keeps prompting negative and defensive reactions, primarily from men. (Comment threads on social media are not at the moment the most flattering representation of human civilization, but there they are.)
It’s obviously touching a nerve – and the fact that it does so, frankly, points to just how deeply ingrained sexist attitudes are. “Hey, there’s absolutely nothing sexist or misogynistic going on” is something said by non-sexist people sort of, um, never. Humans are naturally defensive, I think, meaning defensiveness is not itself an indication of guilt – but an inability to listen to female artists when they’re talking about their own experiences is more than that. It demonstrates something is wrong. And artists like The Black Madonna are arguing for this not just with evidence of sexism, but – this is really, really important – with evidence of great female-identified artists who deserve as much exposure and credit as possible because they’re amazing. That’s the message.
Second, if you actually listen carefully and reflectively to the content, there are some lessons to everyone – men involved in music very much included. I think this says something about being human in making music, not just about a particular political issue.
Marea starts the conversation by talking about role models, in an intensely human story.
That alone is reason enough to understand the importance of championing great artists in music who have been marginalized in the past. And I think the issue of “role model” can be reduced or misunderstood. If you really listen to her talk about her experience, this isn’t just “I saw a girl like me onstage.” She speaks specifically to a profound emotional connection with them as musicians and as people.
I think that ought to speak to everyone. This is what it’s about – and these are people who are so great at what they do, they become role models for everybody. Apart from having been personally inspired by The Black Madonna’s sets, I can speak to Honey Dijon, too (whom she talks about in this interview). Honey is the kind of person who can heal a dance floor; you can actually see people relate to one another differently. When we deny these kind of artists access to the club, everyone loses.
And they were – and are – routinely denied. Audiences don’t get to judge whether they’re good or not because too often they don’t get to hear them at all.
It’s not enough to identify a problem, though – and much of this conversation thankfully is about solutions.
From that point, the two talk about the practical matters of how to change a culture, and how to make sure people gain access who didn’t have it before.
The issue here is women, but I think it extends to any group that find they don’t fit in with the cool club – the people who look different, who come from different backgrounds, who have limited budgets, who make different kinds of music, who come from different places.
That’s another thing that puzzles me about defensiveness. Look, if these artists are right, and you’re on the inside of a system that’s exclusive, you should listen. If they’re somehow wrong, and the system isn’t exclusive, then … uh, why are you getting defensive? If these artists are right, and the system is exclusive based on gender, and you feel you don’t fit in for some other reason, then listen to how they’ve dealt with that and consider whether it might be relevant to your own experience. (Then again, if it’s simply that you feel you’re struggling as an artist and having more strong female artists will make that worse because they’ll take up more space, well … that’s a different problem entirely, but then it’s a chance to give yourself space and patience to grow rather than lash out at someone else.)
It’s also worth listening, though, to the importance of “co-conspirators” or accomplices. There’s really so much we can do to make music a richer place. That can be everyone’s problem, and everyone’s reward.
I think The Black Madonna also puts out the best argument for where female-only spaces matter – where they can be female-driven and “sacred spaces,” as she puts it. (She also notes that men should not be organizing in that same way.) I think it’s important that those of us who aren’t part of those spaces simply respect them, but this seems also an answer to female friends who have questioned them. Zuz Friday wrote about this issue for CDM in regards to an event she co-organizes, and also dealt with this question of public versus private space (and how to combine them). I can also imagine this could be a model for any group that feels like it needs its own space, whether it deals with a particular gender identity or sexual orientation or ethnic or other background. Those networks and spaces clearly have value for certain circles of people, and it seems that only enriches our larger music community.
I won’t say more, in that it’s better to listen to these two talk – it’s a genuine and honest discussion, and certainly the kind of conversation I hear a lot.
Anyway, I don’t want to ramble on too long, or also contribute to men exploiting this issue because it’s trendy, or getting defensive when called on it. I’m not perfect, either. So I’ll say to whatever extent I should also listen to criticism, I will try to do so without getting defensive. And I hope that we as a community do better – on gender, on diversity.
I hope that growing as humans ourselves and spreading music to more humans is part of our job – a job that never ends.
The post The Black Madonna, shesaid.so talk role models, co-conspirators appeared first on CDM Create Digital Music.
You are probably equipped with ears as sharp and precise as the world’s top sound professionals. What you lack, then, is training.
In instrumental music education, the very first thing you do is teach ear training and keyboard skills. And you do that with students who are, frankly, terrible. But anyone can learn perfect pitch (or something close to it, at least). You couple those ears with an understanding of theory, and you’re able to navigate common musical practice.
Yet in audio, I’ll bet the vast majority of people making music and working in sound have never had an equivalent training. And yet the essentials of sound, and tools like compression and EQ, are just as dependent on training your ears. You need to couple that training with a sense of theory.
And music software developers are starting to realize that the more you know, the more you’re likely to use their tools.
iZotope had already added extensive education to their offerings – teaching you how mastering works being a great way of getting more mastering customers. But now, they’re doing something much further-reaching, which they call Pro Audio Essentials.
And it’s not just lessons – it’s also a game.
You start with tutorial content. At the helm for iZotope is their education director, Jonathan Wyner, who has a Grammy nomination under his belt. (It’s for work on a “Best
Classical Crossover Album” nominee, in case you’re wondering. See also his article on mastering.)
If you’re entirely new to this stuff, you’ll start at the very beginning – like what equalization is. You can get deeper into stuff that you might be a little shaky on if it’s been a while since you studied audio (like the difference between dBFS, Peak Level, and RMS). Those videos are all on-demand, so you can skip them if you’re not interested.
What I suspect almost everyone might be interested in is the Explore, Practice, and Challenge tools.
These let you play with tools like equalization directly in your browser window, and hear the results. Then, you can actually test and train your hearing. So, with equalization, this means the ability to try to detect difference in amounts of attenuation (in dB), and specific frequency bands.
In Challenge mode, you can not only test yourself, but actually try to make targets, matching existing files by ear.
And yeah, that could be a fun exercise even if you’ve got a fair bit of experience.
It’s kind of a wonderful reversal of current trends, if you think about it. We’ve got plug-ins that purport to match EQ for you; cloud tools that are supposed to replace the mastering engineer. In this case, you’ve got something better: you can actually train your own ears so you can take control of getting the results you want. And since the ability to hear amplitude and frequency matters in creative work, too, that means the power to make your own choices as you produce, too.
So far, lessons on equalization, compression, and digital audio basics are all available as videos. There’s a practice and challenge mode for equalization (the others aren’t done yet).
It really isn’t an advertisement for iZotope products. It’s really something you could apply to anything; it’s just likely to build your hearing confidence in such a way that might make you a better customer.
It seems like a great idea. And it’s terrific to watch this industry wake up to education as being part of what they do. (Ableton’s efforts with Loop and a book on creative strategies also spring to mind.) I expect that trend will spread.
Give it a go, for free:
The post Learn audio skills as a game, free, with your ears as guide appeared first on cdm createdigitalmusic.
Hi everyone, I’m thinking about retiring the video and audio labels on the site. When the current format of MATRIXSYNTH launched back in 2005, videos and audio posts weren’t as common so the labels made sense. Now, the majority of posts that go up are video posts which of course have audio. If you are asking yourself why I even created the labels in the first place, SoundCloud didn’t launch
Disassembly Language: Ambient Music for Deprogramming Vol. 1 by 8 Bit Weapon
via 8 BIT WEAPON
“PREORDER NOW AND GET A TRACK TODAY!
Our new chipmusic concept album is a collection of ambient music crafted to help facilitate relaxation. Over 1 hour of mind defragmenting tones for you to enjoy! Each sound is hand crafted from the Commodore 64 personal computer’s SID sound chip. Portions of the
“(c)2016 vintage synthesizer demo track by RetroSound
all sounds: SCI Prophet VS Vector Synthesizer (1986)
recording: multi-track without MIDI
fx: a bit delay and reverb”
Published on Feb 12, 2016 Sacred Synthesis
“Another improvisation from the previous day’s session, using the same brass patch. This piece is meant entirely to demonstrate the power of the Prophet ’08 Keyboard and Module pair. This is how it sounds to “pull out all the stops”.
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module
DSI Evolver Desktop
Hammond XPK 200L
“This is the first track i made that is created using sounds entirely created on the DSI Prophet 12 Module. Its about 2 years old but i never bothered posting it, so here it is.
The drums are sampled from the P12 into Ableton and dropped into a drum rack with some processing. The other synth parts are multitracked.”
“Recently I’ve been sharing and exploring Hordijk patches with Benoit Faivre. This single-pass performance was totally inspired by a patch Ben recently devised. Here’s to you Ben!”