The art of modeling at a handful of the best software shops continues to progress. And so it is that Universal Audio say they’ve simulated every tiny detail, “from speaker paper and heat dissipation, to filter caps and transformers,” of one of the world’s best-known amplifiers – the Fender Tweed. It’s the cranked sound of Neil Young; it’s the clear lead of Larry Carlton. It’s a lot of other things. It’s now on a computer, too.
Imagine you had a DAW with lots of live tools and synths and effects – a bit like FL Studio or Ableton Live – and it was completely free. (Free as in beer, free as in freedom.) That’s already fairly cool. Now imagine that everything in that environment – every synth, every effect, every pattern maker – was built in SuperCollider, the powerful free coding language for electronic music. And imagine you could add your own stuff, just by coding, and it ran natively. That moves from fairly cool to insanely cool. And it’s what you get with LNX_Studio, a …
It’s no longer an either/or proposition: physical, digital, choose both. It’s now a natural for something like a guitar brand to expand both in the physical and virtual realms, and for the name to matter in both. So in the same week we saw synth legend Dave Smith connected with DJ brand Pioneer, Universal Audio is adding Fender to their signal processing lineup.
At last, the world of modular meets the world of stompboxes. It’s a no brainer: after all, a modular rack already has a lot in common with a crowded pedalboard. I expected that our friends at Bastl Instruments from Czech would come up with something for this week’s Superbooth synth gathering here in Berlin, and sure enough, they’ve got three new modules, with one stompbox-friendly standout.
Hot on the heels of our write-up of a board that makes any hardware you can imagine, here’s a mod that takes all that power and fits it in a handheld space with hands-on controls.
Meet a new, special creature. So, you’ve got your own special dream for a musical tool – the instrument or effect or sound machine you want. Traditionally, you’ve had a few options for realizing that – apart from going to the shops and hoping you can buy something that fits. You could develop in software and run that on a computer (via Max/MSP, Reaktor, Pd, SuperCollider, and so on). You could patch together some hardware rig (as on a Eurorack, for instance). But what if a tiny board could be the computer and the hardware? That’s the third category in …
iZotope has a new delay out, and like many plug-in developers of late, they’re using a limited time free offer to rise above the din of Internet noise. But while the new “DDLY Dynamic Delay” is free, it’s not something cut-down. On the contrary: you might fall in love with this delay right away.
Urs Heckmann just combined “reverb” with “experimental, possibly sonically unstable plug-in with unpredictable results.” And it’s free. Urs – how did you know exactly what I wanted for Christmas?
IRCAM is Paris’ legendary research center. It’s the place where the original Max was born, and it’s still a hub for some of the brightest minds in sound in the world. IRCAMAX 2 is a new set of effects and instruments for Max for Live. And it does some amazing stuff – though maybe the best way to demonstrate that is not to explain, but to let you listen. They’ve made not just demos but some beautiful music, via artist Najo:
Once, weird instruments only made the rounds at exclusive academic conferences. Now, they go viral on Facebook. Such is the case with Collidoscope, the creation of a UK-based mixing and mastering service (out of London label Sunlightsquare Records) and Queen Mary researchers – Ben Bengler and Fiore Martin. It’s a massive tangible table-top interface to a granular instrument.