Der T-Resonator ist ein sehr spezielles Effektgerät. Die dritte Version kann aber noch deutlich mehr, nämlich aufnehmen. Das betrifft Audio aber auch Knopfbewegungen.
Der neue T-Resonator glänzt durch einen SD-Karten-Schacht und lässt daher zu, die Audioaufnahmen und Knopf-Bewegungen darauf zu sichern und damit der DAW zu fressen zu geben. Außerdem hat der T-Resonator III natürlich auch USB und einen MIDI-Eingang. Audio und Automation von anderen Sessions können selbstredend auch geladen werden.
Was in der Zeichnung nicht ganz so gut zu erkennen ist: es gibt ein kleines OLED-Display. So muss man nicht im Dunklen suchen sondern kann Namen geben und Patches und Presets benennen. Die beiden Filter können per Link gleichgeschaltet werden. Außerdem ist die Loop-Funktion über einen Fußschalter erreichbar. Ein Stereo-Aux-Weg lässt das digitale Signal separat abgreifen zur weiteren Verarbeitung, was eine Doppelnutzung möglich macht.
Metal Noise Analogeinspritzung
Um zu dem Effekt noch mehr Obertöne hinzuzumischen, gibt es jetzt auch Metal-Noise Generatoren, sie bereichern den analogen Teil. Außerdem arbeitet ein Limiter am Ende der Signalkette, um keine extremen Dynamikexplosionen zu erhalten und den Pegel besser unter Kontrolle zu halten.
Bei Jomox gibt es bereits erste Informationen, wobei der Liefertermin und Preis mit „später in diesem Jahr“ angegeben wird und noch nicht exakt zu bestimmen ist. Der Vorgänger kostet aktuell 299€, was der neue vermutlich nicht alten können wird.
Unsere russischen Leser werden dies verstehen, leider ohne Audiobeispiele:
Magix has announced the release of Sound Forge Pro 13, the latest version of its software for recording, audio editing and mastering. Version 13 offers an improved user experience, with more efficiency, stability and speed. For over 25 years, SOUND FORGE Pro has set the benchmark for recording, editing and processing audio. The latest version […]
Rat communication, adjusted for human hearing, makes for surprisingly musical listening. That’s right – you may enjoy the sweet serenade of an actual rat burrow on NYC’s Lower East Side.
The results: some fantastic ultrasonic interspecies live performance, and an indication of how much music we might imagine lies beyond traditional human hearing.
When we talk transhumanism or post-human art, we’re not kidding. Media artist Brian House has made projects out of machine learning and even acidic toxic waste from a mine. (I actually know Brian from having done a session for the New York Times R&D group.) But easily my favorite is urban intonation / rat radio.
In contrast to imagining sounds of the bleats of goats or the songs of humpback whales, your first – and very apt question – might be “wait, what do rats sound like?” Good question, because you’ve definitely never heard them. Rats do communicate vocally, but above the threshold of our human hearing (higher than 20 kHz).
So Brian has helped us out by pitch shifting ratspeak into our normal human vocal range. That involves the use of ultrasonic mics and digital manipulation; the first version used samples, but then he went to live radio. He tells us his livestream from a rat burrow underneath the Lower East Side is now back on the air and – frankly, this is definitely my new favorite radio station.
The actual Manhattan rat burrow – where all this action is happening, and ‘studio’ to rat radio.
The results are to me fascinatingly musical – sounding at various times like the riffs of a practicing opera singer warming up, or an angular avant-garde alien jazz horn solo, or a more mournful cry. (I find this especially strange, as on a weird sound art project I was practicing imagining alien or interspecies vocalizations and came up with something a bit like this, suggesting I am indeed part rat. No surprise there.)
“Everything below 20 kHz is filtered out,” Brian tells us, “and there is a significant amount of noise filtering in addition to the pitch/time manipulation.” But otherwise, this is really the sound. “Anecdotally, the city rats are way more musical than lab rats,” he says. That makes some sense – rats in the wild presumably have more to talk about, especially in the heart of it all, rat nirvana Manhattan. (Makes me a bit homesick, really.)
Bizarre as it may seem, there’s a real program here – and the kind of interspecies awareness we may need as we face down global environmental calamity. As Brian writes:
Living under the paving stones, consuming our refuse, and incubating our diseases, the city rat is a ubiquitous part of global, urban capitalism. The revulsion rats inspire actually speaks of our closeness to them—rattus norvegicus burrows through the supposed human / nature divide. And just as we continually negotiate our place in a dynamic city, so have rats developed elaborate social codes intertwined with urban architecture and geography.
So sing on, rats. If we hear something like “so long, and thanks for all the pizza,” we may want to worry.
PreSonus is now shipping its new top-of-the-line StudioLive 64S, which brings the power of a large production console to small-format digital mixing, with 76 mixing channels, 43 buses, and 526 simultaneous effects thanks to the all new quad-core FLEX DSP engine. Thirty-two individually configurable FlexMixes allow you to create the perfect combination of aux mixes, […]
Electronics are redefining what “sound” means – by remapping other signals into our audible spectrum. The latest is SOMA’s invention Ether, a “microphone” for electromagnetic fields. If that sounds familiar, this one’s a bit different than some EMF devices that came before.
Here’s a look at the new Ether. It’s a new creation from SOMA Laboratory, the same Russian instrument builder who have give us the gorgeous “organismic” LYRA synths. (I covered them in the Russian Synthposium write-up last year.)
First, let’s talk electromagnetic fields. Just like gravity, these fields extend throughout nature. Since we have electricity and electrically-charged stuff pulsing all around us, there’s a lot happening in the electromagnetic field. But we can’t perceive that, because our bodies lack sense organs equipped to do so – well, until now, that is. Now we’ve invented devices that translate to things we can sense. Think of it as expanded sensory perception for the transhumanist, technologically augmented age.
Various artists have built electromagnetic detectors that you can use for music – both by listening directly with headphones, and by letting you plug that signal into a recorder or use in live performance. That includes the superb ElecktroSluch by LOM Label and artist Jonáš Gruska, who both makes these instruments available and has built a body of works around them on his label (both by him and invited artists).
Part of what makes Jonáš special, though, is his interest in delicate sounds and focused sounds – that’s something he applies to his acoustic microphones, as well.
So here’s where the SOMA Ether becomes interesting.
The invention of engineer Vlad Kreimer, the Ether is a portable EMF device. But it’s much more sensitive than other offerings – making it well suited to picking up larger ambiences in recording or live performances. It works on a slightly different technique, and yields different results.
Vlad himself sends along an explanation to make this clearer:
ETHER is not just an inductive sniffer like some projects you can easily find online. A simple low-frequency inductive sniffer will be silent in most places that are full of sounds in the video. Such devices need to be placed close to an emitting source and will not work on a street. All they contain is a coil and a low-frequency amplifier. In comparison, ETHER has a regenerating circuit and a demodulator, making it an actual radio wave receiver, not just an amplifier of low-frequency magnetic fields. However, ETHER can perceive the low-frequency magnetic fields as well. But, honestly, if your goal is to scan objects in close proximity (0-20 centimetres), devices like Elektrosluch will work cleaner and more focused due to its narrow band and lower sensitivity. ETHER was designed to be a part of your walks in the city and may even pick up sounds in a forest or at the seashore (I have such experience). Elektrosluch was designed for using over a table full of gear. Also, ETHER can perceive the electric component of the radiation as well, capturing radiation that is far above the audio range and is much more sensitive. Therefore, it has a significantly different design, functions and implementation than a simple inductive sniffer even if in some cases their functions can overlap.
Devoted EMF fans I can imagine carrying both the Ether and something like an ElectroSluch to capture different sounds, a bit like photographers carry multiple lenses. (Oh yes – this addiction is about to run deep. Or you can think about the difference between a double bass and an oboe.)
As you can hear in the demo, you get these sweeping, overlapping waves of EMF with some really fantastic distortion – punk electromagnetism.
120 EUR, available to order now. (VAT and shipping are additional.)
In the original modular synth era, your only way to capture ideas was to record to tape. But that same approach can be liberating even in the digital age – and it’s a perfect match for the open VCV Rack software modular platform.
Competing modular environments like Reaktor, Softube Modular, and Cherry Audio Voltage Modular all run well as plug-ins. That functionality is coming soon to a VCV Rack update, too – see my recent write-up on that. In the meanwhile, VCV Rack is already capable of routing audio into a DAW or multitrack recorder – via the existing (though soon-to-be-deprecated) VST Bridge, or via inter-app routing schemes on each OS, including JACK.
Those are all good solutions, so why would you bother with a module inside the rack?
Well, for one, there’s workflow. There’s something nice about being able to just keep this record module handy and grab a weird sound or nice groove at will, without having to shift to another tool.
Two, the big ongoing disadvantage of software modular is that it’s still pretty CPU intensive – sometimes unpredictably so. Running Rack standalone means you don’t have to worry about overhead from the host, or its audio driver settings, or anything like that.
Big thanks to chaircrusher for this tip and some other ones that informed this article – do go check his music.
Type “recorder” into the search box for modules, and you’ll see different options options from NYSTHI – current at least as of this writing.
2 Channel MasterRecorder is a simple stereo recorder.
2 Channel MasterReocorder 2 adds various features: monitoring outs, autosave, a compressor, and “stereo massaging.”
Multitrack Recorder is an multitrack recorder with 4- or 8-channel modes.
The multitrack is the one I use the most. It allows you to create stems you can then mix in another host, or turn into samples (or, say, load onto a drum machine or the like), making this a great sound design tool and sound starter.
This is creatively liberating for the same reason it’s actually fun to have a multitrack tape recorder in the same studio as a modular, speaking of vintage gear. You can muck about with knobs, find something magical, and record it – and then not worry about going on to do something else later.
The AS mixer, routed into NYSTHI’s multitrack recorder.
Set up your mix. The free included Fundamental modules in Rack will cover the basics, but I would also go download Alfredo Santamaria’s excellent selection , the AS modules, also in the Plugin Manager, and also free. Alfredo has created friendly, easy-to-use 2-, 4-, and 8-channel mixers that pair perfectly with the NYSTHI recorders.
Add the mixer, route your various parts, set level (maybe with some temporary panning), and route the output of the mixer to the Audio device for monitoring. Then use the ‘O’ row to get a post-fader output with the level.
(Alternatively, if you need extra features like sends, there’s the mscHack mixer, though it’s more complex and less attractive.)
Prep that signal. You might also consider a DC Offset and Compressor between your raw sources and the recording. (Thanks to Jim Aikin for that tip.)
Configure the recorder. Right-click on the recorder for an option to set 24-bit audio if you want more headroom, or to pre-select a destination. Set 4- or 8-track mode with the switch. Set CHOOSE FILE if you want to manually select where to record.
There are trigger ins and outs, too, so apart from just pressing the START and STOP buttons, you can either trigger a sequencer or clock directly from the recorder, or visa versa.
Record away! And go to town… when you’re done, you’ll get a stereo WAV file, or a 4- or 8-track WAV file. Yes, that’s one file with all the tracks. So about that…
Splitting up the multitrack file
This module produces a single, multichannel WAV file. Some software will know what to do with that. Reaper, for instance, has excellent multichannel support throughout, so you can just drag and drop into it. Adobe’s Audition CS also opens these files, but it can’t quickly export all the stems.
Software like Ableton Live, meanwhile, will just throw up an error if you try to open the file. (Bad Ableton! No!)
It’s useful to have individual stems anyway. ffmpeg is an insanely powerful cross-platform tool capable of doing all kinds of things with media. It’s completely free and open source, it runs on every platform, and it’s fast and deep. (It converts! It streams! It records!)
Installing is easier than it used to be, thanks to a cleaned-up site and pre-built binaries for Mac and Windows (plus of course the usual easy Linux installs):
That’s worth keeping around, too, since it can also mix and monitor your output. (No Linux version, though.)
Bonus tutorial here – the other thing apart from recording you’ll obviously want with VCV Rack is some hands-on control. Here’s a nice tutorial this week on working with BeatStep Pro from Arturia (also a favorite in the hardware modular world):
I really like this way of working, in that it lets you focus on the modular environment instead of juggling tools. I actually hope we’ll see a Fundamental module for the task in the future. Rack’s modular ecosystem changes fast, so if you find other useful recorders, let us know.
Bremmers Audio Design has released an update to its MultitrackStudio for iPad, an audio/MIDI multitrack recording app featuring high quality audio effects including a guitar amp simulator. Both audio and MIDI tracks can be edited. MIDI editing features include pianoroll, drum and score editors. The straightforward user-interface has been designed with tape-based recording in mind. […]
Avid has announced the immediate availability of its Avid VENUE | S6L-16C control surface, part of the expanded Avid VENUE | S6L unified live sound platform. This new S6L system component gives users the most compact, portable and affordable control surface with the same power and functionality as the largest VENUE | S6L consoles, providing […]
TASCAM has announced the new SERIES 102i 10-in/2-out and SERIES 208i 20-in/8-out audio-MIDI interfaces which deliver 24-bit, 192 kHz recording and playback to a Mac, Windows PC, or iPad. Controllable with included custom software, the two versatile SERIES USB 2.0 interfaces feature powerful DSP input and output mixers with built-in digital reverb, compressor, phase invert, […]