Music Production Info

Native Instruments has released Reaktor 5.5 - a free update that adds a number of improvements and additions.

New in Reaktor 5.5:

• Fully reworked, streamlined user interface: A complete overhaul of REAKTOR’s interface delivers a new level in usability and improved workflow. The changes make REAKTOR 5.5’s iconic creative potential easier to tap than ever before.
• Two new synthesis modules:
  • Additive Synthesis - The additive synthesis technology in REAKTOR 5.5 allows instrument builders to create sound in a new way. This elaborate module allows instrument designers to realize additive synthesis beyond the CPU limitations of previous REAKTOR versions, as it has been radically optimized to handle large number of partials in a more efficient way. For ensemble users, instruments can now be created that allow accesses to sound parameters that were not possible before. The included Lazerbass instrument is a ready-made example of this technology in action.
  • Modal Synthesis - The Modal Module is a synthesis method made up of an exciter signal and a resonator, and is great for synthesizing percussive sounds ranging from mallets to vibraphones, as well as sustained sounds like woodwinds. The physical modeling algorithms used in modal synthesis simulate the behavior of real instruments, allowing for highly expressive and playable results. The first synth to utilize this technology is REAKTOR PRISM*, created by Native Instruments founder and father of REAKTOR, Stephan Schmitt.
• New Ensemble Content - REAKTOR 5.5 comes armed with fresh sounds and ensembles. Alongside the now-included REAKTOR Electronic Instruments 1 and 2, comes a new synth from the creators of MASSIVE – Lazerbass.
• Revised Structure Editor and Audio Engine – The improvements made to the Structure editor and audio engine mean greater flexibility and more powerful control over REAKTOR.
• Improved documentation – REAKTOR 5.5 also brings reworked documentation, with the Application Reference manual (400 pages) completely rewritten to better reflect the latest improvements, updates and enhancements within this version. All materials now refer to the new user interface while the reworked Getting Started makes it even easier to join the world of REAKTOR.

Apple today updated it’s iPod line, revving the iPod shuffle, iPod nano and iPod touch.

The most interesting news for musicians is the updated iPod touch, which gets many of the features of the iPhone 4:

• Retina display (326ppi)
• Apple A4 chip
• 3-axis Gyro
• HD video recording with back camera
• Front camera with Facetime
• 40 hours of music playback

If you’ve been interested in the music capabilities of the iPhone 4, but not the AT&T contract, the new iPod touch may be a good option.

The pricing options are:

• 8 GB – $229
• 32 GB – $299
• 64 GB – $399

The iPod shuffle gets:

• Playlists
• Genius mixes
• VoiceOver
• 15 hours of music playback

The iPod shuffle will sell for $49 for a 2GB player.

The iPod nano gets:

• Multi-touch user interface
• 46% smaller
• Clip on
• Volume buttons
• VoiceOver
• FM radio
• Nike+
• 24 hour battery life

The iPod nano will come in a $149 8 GB version and a $179 16 GB version.

If you just can’t get enough of early Depeche Mode, you’ll be happy to know that Vince Clarke & Martin Gore are working on a techno-ish track called Zaat.

No word on how soon you’ll be able to here this reunion of early Depeche Mode members. Clarke’s keeping busy working on a children’s record for Rounder Records, the latest Erasure album and a possible collaboration with Amanda effin’ Palmer.

Schwing!

via Vince Clarke

Did you know that the screech of a TIE Fighter is a drastically altered elephant bellow. Or that the voice of Chewbacca was constructed out of pieces of walruses and other animal sounds?

Lucasfilm has published a new book, The Sound Of Star Wars, that at the work of Academy Award-winning sound designer Ben Burtt.

In this aurally astonishing and visually engaging book, New York Times best-selling author J. W. Rinzler reveals the illuminating history of the sounds that make the Star Wars universe so believable, as recounted by their creator, legendary sound designer Ben Burtt.

An attached sound module with an exterior speaker and headphone jack lets readers listen to more than 250 unique sound effects, and more than 300 photographs illustrate the epic’s many memorable scenes.

Yes – one more reason to give George Lucas your money – but the excerpts make it pretty tempting.

Here, Burtt explains why he favored found sound over electronic sound:

When George Lucas approached Burtt about making the first Star Wars film, he had specific desires for how his fantasy world should sound. As Burtt puts it, the sound effect “language” of science fiction films at the time was pretty much electronic. Early films such as The Day the Earth Stood Still, Forbidden Planet, and War of the Worlds were created with clean, electronic-sounding sound effects and most films and television series after were created in the same mold. During Lucas’ first conversation with Burtt, he stated that he wanted an “organic soundtrack” and a “used universe

” He wanted squeaky doors, rust, and motors that didn’t start up quickly. Burtt’s solution was to collect sounds from the real world rather than use a Moog synthesizer as an initial source. “We did incorporate an element of electronic sound,” Burtt continued, “but it was imbedded in a world of organic sounds.” With sound devices based on the real world, the effects would seem authentic to the listener in some way even if they couldn’t identify the source of the sound.

If you’ve read The Sounds Of Star Wars, leave a comment with your thoughts!

Click here to view the embedded video.

This is the music video for Synthjumk’s Synthpop Revolution.

via synthjunk:

A synthpop tune and a robot.

Synth pop legend Vince Clark (Yazoo, Erasure, Depeche Mode) has announced a new series, Analogue Monologues, which offers his take on classic synths:

The Analogue Monologues is a new series of mini video documentaries. In each webisode Vince talks about one his analogue synths and explains where the on/off switch is. This series proves, once and for all, that he really doesn’t know much about anything (a must see!).

The first episode takes a look at a classic monosynth, the Sequential Circuits Pro-One.

Click here to view the embedded video.

This video captures Propellerhead Software trying out what they call the world’s biggest drum machine.

They don’t explain the details – but it looks like they are using a custom MPC-style MIDI controller to trigger Kong in Reason 5, and projecting their computer screen as video onto the biggest skyscraper in Stockholm.

Check it out and let me know what you think of the world’s biggest drum machine!

Think you could “totally kill the dance floor” with it?

Click here to view the embedded video.

Sunday Synth Jam: This video, via fatern, captures a Japanese theremin jam:

Good morning theremin in JAPAN (watafei songs)

morning theremin play in my house at Osaka.
I Love JC77&moog sounds!!!

http://www.myspace.com/watafei.

written by SAIJYO WATARU

Today, August 21, 2010, is the fifth anniversary of the death of Bob Moog. In honor of the date, the Bob Moog Foundation has published some wonderful pictures of Moog and some memories from people that were influenced by him, including Tangerine Dream’s Christopher Franke (above).

Here’s the Archive’s story about this photo:

In combing through the archives for rarely seen photos to share on this very special day, we came across this one, below, of Christopher Franke, pioneering synthesist for Tangerine Dream. Christopher sent this photo, with a small hand-written note, to Bob in the early 1970s and Bob had kept it neatly in his files. The photo speaks for itself, so we don’t need to elaborate on its significance too much. We do know that Bob considered himself a toolmaker, designing highly crafted, innovative, intuitive instruments for musicians. He took great joy in working with musicians, for they were the open spirits creating and communicating through the language of music.

Bob must have been touched to receive Christopher’s note of gratitude, which serves as a tribute that Bob had succeeded in his goal to provide musicians with tools with which to expand their creativity.

It’s a great story – and Franke is just one of thousands that were similarly touched by Moog.

Without Bob Moog – there would be no Synthtopia – so we have to echo Christopher Franke and say “Thank you very much, Bob Moog!”

Got a thank you of your own for Bob Moog?

If so, let us know below – and you can remember him by checking out The Bob Moog Foundation, an organization to carrying on his memory and work.

Free Music Software: Android users have a new music tool to check out - Androidome, a freeAndroid-based emulator for the monome music making device.

Androidome is a portmanteau of Android + monome, android being the popular operating system for mobile phones, and the monome being a minimalist instrument/controller/interface/toy. Like the monome, the app itself doesn’t actually do a whole lot out of the box, it simply provides an interface for sending and receiving data to and from your computer.

If you’re an Android owner, check it out and let us know what you think of it!

Features:

• Connects to Max/MSP over WLAN.
• Responds to incoming led messages.
• Provides multitouch input from phone to Max/MSP.
• Works with mlrV, polygome, boiingg, (hopefully many more too).

Androidome is available now as a free download.

via rekkerd